ABSTRAT

This article aims to analyze three catalogues of exhibitions presented in the Memorial da Resistência de São Paulo that use as main expressive material some photographs of victims of enforced disappearances and murders occurred during the civil-military dictatorships in Argentina, Brazil and Chile. The paper examines “Buena memoria”, by Marcelo Brodsky, “Ausenc’as”, by Gustavo Germano, and “119”, by Cristian Kirby, paying attention to the way each of those artworks mobilize the portraits. Despite their singularities, the three works have something in common: the ability to settle the gazes incarnated in the images, which can look back to the spectators to demand remembrance, liability and redemption.

Keywords:
photography; art; memory; dictatorship