Sanat ve Tasarım Dergisi

Yazarlar: ["Özgü ÖZTURAN", "Selda ÖZTURAN"]

Konular:-

DOI:10.20488/sanattasarim.1313820

Anahtar Kelimeler:Doris Selcedo,Travma,Tanıklık,Yas,Melankoli

Özet: This paper discusses the art practices of sculptor Doris Selcedo who stands out as a witness and narrator of political violence in Colombia. This article focuses on how Doris Selcado’s sculptures problematize the disregarded existence of countless people who were killed, forcibly displaced, forcibly disappeared, subjected to torture, discrimination and gender-based violence which have now turned into statistical data after the devastating effects of wars, conflicts and violence in the different parts of the world. Throughout the article, it has been emphasized how the artist reconstructs the memories of the people who are dragged in the destiny of the geography they live in through the field of art, how she transforms the social traumas she has witnessed into sculptures that keep records, and how he creates a political discourse through art in the face of violence targeting fragile bodies. The artist’s works, which are handled in chronological order, are analyzed with reference to Judith Butler’s concepts of vulnerability and mourning, Giogio Agamben’s testimony, Walter Benjamin’s storyteller, Sigmund Freud’s concepts of mourning and melancholia. In this article, it is aimed to discuss the potential of contemporary art, through Doris Selcado’s sculptures, to actively and collectively remember a traumatic past, to imprint the traces of violent conflicts in the social memory, to know the truth, to face the truth and to social healing when the limits of language are not sufficient.

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