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            [journal] => stdClass Object
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                    [id_jnl] => 70
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    [1] => stdClass Object
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            [section] => stdClass Object
                (
                    [section] => 1712
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    [2] => stdClass Object
        (
            [title] => Array
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                    [0] => The Eloquent Silences: : Art and Performative Memory of the Shoah in Silencio (2005) by Erika Diettes (Colombia)@en
                    [1] => Los silencios elocuentes: Arte y memoria performativa de la Shoah en Silencios (2005) de Erika Diettes (Colombia)@es
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    [3] => stdClass Object
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                    [0] => The artworks of Erika Diettes explore the relationship between art and the memory of violence in conflicts. In Silencios (2005), Diettes addresses the memory of the Shoah in Colombia by creating photographic triptychs —text, portrait, and a personal object of the victims— that facilitate a direct confrontation between the viewer and the victims, fostering what Ricoeur calls a work of memory, where artistic representation allows access to what would otherwise remain forgotten. The brief texts written by the victims paradoxically reinforce the eloquence of silence, evoking the unspoken as a form of mnemonic testimony. Deleuze and Guattari (2005) propose that art does not merely preserve memories but generates blocks of sensations that transcend time and space. In Silencios, this is manifested through the use of black-and-white photographs, which evoke the historical and emotional permanence of the events. The object, often an old photograph, symbolizes the trace of loved ones, recreating, in Ricoeur´s terms, the process of memory reconfiguration. Diettes makes forgotten victims visible and dissolves the fog of oblivion, dignifying their stories in a process of performative memory.@en
                    [1] => Las obras de Erika Diettes exploran la relación entre arte y memoria de las violencias de los conflictos. En Silencios (2005), Diettes aborda la memoria de la Shoah en Colombia, creando trípticos fotográficos —texto, retrato y objeto personal de víctimas— que facilitan una confrontación directa entre el espectador y las víctimas; así propicia lo que Ricoeur llama un trabajo de memoria, en el que la representación artística permite el acceso a lo que de otro modo quedaría en el olvido. Los breves textos escritos por las víctimas paradójicamente refuerzan la elocuencia del silencio, y evocan lo no dicho como una forma de testimonio mnemónico. Deleuze y Guattari (2005) plantean que el arte no se limita a conservar recuerdos, sino que genera bloques de sensaciones que trascienden el tiempo y el espacio. En Silencios, esto se manifiesta a través del uso de fotografías en blanco y negro, que evocan la permanencia histórica y emocional de los eventos. El objeto, a menudo una vieja fotografía, simboliza la huella de los seres queridos, y recrea, en términos de Ricoeur, el proceso de reconfiguración de la memoria. Diettes visibiliza a las víctimas olvidadas y disuelve la neblina del olvido, para dignificar sus historias en un proceso de memoria performativa.@es
                )

        )

    [4] => stdClass Object
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            [author] => Array
                (
                    [0] => Emmanuelle Sinardet
                )

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    [5] => stdClass Object
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            [subject] => Array
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                    [0] => Erika diettes@en
                    [1] => Art@en
                    [2] => Memory@en
                    [3] => Shoah@en
                    [4] => Colombia@en
                    [5] => Testimony@en
                    [6] => Oblivion@en
                    [7] => Erika diettes@es
                    [8] => Arte@es
                    [9] => Memoria@es
                    [10] => Shoah@es
                    [11] => Colombia@es
                    [12] => Testimonio@es
                    [13] => Olvido@es
                )

        )

    [6] => stdClass Object
        (
            [source] => stdClass Object
                (
                    [vol] => 48
                    [nr] => 2
                    [year] => 2025
                    [theme] => 
                )

        )

    [7] => stdClass Object
        (
            [datePub] => Array
                (
                    [0] => 2025-04-02
                )

        )

    [8] => stdClass Object
        (
            [DOI] => Array
                (
                    [0] => stdClass Object
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                            [type] => DOI
                            [value] => Array
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                                    [0] => 10.17533/udea.rib.v48n2e358284
                                )

                        )

                )

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            [http] => Array
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                                    [0] => https://revistas.udea.edu.co/index.php/RIB/article/view/358284
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                                    [0] => https://revistas.udea.edu.co/index.php/RIB/article/view/358284/20818316
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    [10] => stdClass Object
        (
            [language] => Array
                (
                    [0] => es
                )

        )

    [11] => stdClass Object
        (
            [license] => Array
                (
                    [0] => RESERVED
                    [1] => by-nc-sa/2.5/co/
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        )

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