<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852018000200387</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2018.21.2.6</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El artista contemporáneo en la comunicación de la historia no oficial: retórica de la desaparición en el conflicto colombiano]]></article-title>
<article-title xml:lang="en"><![CDATA[The Contemporary Artist in the Communication of Unofficial History: Rhetoric of Disappearance in the Colombian Conflict]]></article-title>
<article-title xml:lang="pt"><![CDATA[O artista contemporâneo na comunicação da história não oficial: retórica da desaparição no conflito colombiano]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lapeña-Gallego]]></surname>
<given-names><![CDATA[Gloria]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af2">
<institution><![CDATA[,Universidad de Murcia  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<volume>21</volume>
<numero>2</numero>
<fpage>387</fpage>
<lpage>409</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852018000200387&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852018000200387&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852018000200387&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El surgimiento de las leyes de memoria histórica en distintos países con un pasado dramático silenciado o tergiversado es un reflejo de la labor que diferentes agentes sociales han emprendido en el ámbito de la recuperación de la memoria. Dentro de la producción artística contemporánea, se han desarrollado nuevos modelos de narrativa a partir de documentos o huellas pertenecientes al pasado, que son rescatados y traídos al presente, y que han llevado a cabo una labor similar a la del historiador. La visión particular ofrecida por los artistas visuales colombianos, que centran su actividad en el ámbito de la historia, documentando los acontecimientos del conflicto armado, pone en entredicho las narrativas dominantes del país. Entre las distintas estrategias alternativas de narrar historia, en este estudio nos centramos en las poéticas de la ausencia, utilizada como metáfora de las desapariciones y la huida. Realizamos un análisis basado en el trabajo de cuatro artistas colombianos (Miguel Ángel Rojas, Doris Salcedo, Óscar Muñoz y Mariana Varela), que se hacen eco del drama personal y establecen un compromiso social y afectivo con las víctimas y sus familiares. En estos proyectos, la ausencia del cuerpo, el vacío, es utilizado como una forma de resistencia al olvido que es capaz de sacudir la mirada del espectador y rescatarlo de la amnesia en la que se encuentra inmerso.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The emergence of laws of historical memory in different countries with a silenced or distorted dramatic past is a reflection of the work that different social agents have undertaken in the field of recovery of memory. In contemporary artistic production, new narrative models have been developed from documents or traces from the past that have been recovered and brought to the present, and which have carried out a work similar to that of historians. The particular vision offered by Colombian visual artists, who focus their activity on the field of history, documenting the events of the armed conflict, puts into question the dominant narratives of the country. Among the different alternative strategies of narrating history, in this study we focus on the poetics of absence, used as a metaphor for disappearances and flight. We conducted an analysis based on the work of four Colombian artists (Miguel Ángel Rojas, Doris Salcedo, Óscar Muñoz, and Mariana Varela), who echo personal drama and establish a social and emotional link with the victims and their families. In these projects, the absence of the body, emptiness, is used as a form of resistance to oblivion that is able to shake the viewer's gaze and rescue them from the amnesia in which they are immersed.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O surgimento das leis de memória histórica em distintos países com um passado dramático silenciado ou tergiversado é um reflexo do trabalho que diferentes agentes sociais têm empreendido no âmbito da recuperação da memória. Dentro da produção artística contemporânea, foram desenvolvidos novos modelos de narrativa a partir de documentos ou vestígios que pertencem ao passado, que são resgatados e trazidos ao presente, e que têm realizado um trabalho similar ao do historiador. A visão particular oferecida pelos artistas visuais colombianos, que concentram sua atividade no âmbito da história, documentando os acontecimentos do conflito armado, questionam as narrativas dominantes do país. Entre as diferentes estratégias alternativas de narrar história, neste estudo nos concentramos nas poéticas da ausência, utilizada como metáfora das desaparições e da fuga. Realizamos uma análise baseada no trabalho de quatro artistas colombianos (Miguel Ángel Rojas, Doris Salcedo, Óscar Muñoz e Mariana Varela), que fazem eco do drama pessoal e estabelecem um compromisso social e afetivo com as vítimas e suas famílias. Nestes projetos, a ausência do corpo, o vazio, são utilizados como uma forma de resistência ao esquecimento que é capaz de sacudir a visão do espectador e resgatá-lo da amnesia em que este se encontra imerso.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Memoria histórica]]></kwd>
<kwd lng="es"><![CDATA[artista historiador]]></kwd>
<kwd lng="es"><![CDATA[artes visuales]]></kwd>
<kwd lng="es"><![CDATA[artistas colombianos]]></kwd>
<kwd lng="en"><![CDATA[Historical memory]]></kwd>
<kwd lng="en"><![CDATA[historian artist]]></kwd>
<kwd lng="en"><![CDATA[visual arts]]></kwd>
<kwd lng="en"><![CDATA[Colombian artists]]></kwd>
<kwd lng="pt"><![CDATA[Memória histórica]]></kwd>
<kwd lng="pt"><![CDATA[artista historiador]]></kwd>
<kwd lng="pt"><![CDATA[artes visuais]]></kwd>
<kwd lng="pt"><![CDATA[artistas colombianos]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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