{"id":45501,"date":"2022-08-26T11:31:23","date_gmt":"2022-08-26T11:31:23","guid":{"rendered":"https:\/\/www.comisionporlamemoria.org\/museo\/?post_type=project&p=45501"},"modified":"2022-11-07T22:08:55","modified_gmt":"2022-11-07T22:08:55","slug":"manos-anonimas-digital","status":"publish","type":"project","link":"https:\/\/www.comisionporlamemoria.org\/museo\/project\/manos-anonimas-digital\/","title":{"rendered":"Manos An\u00f3nimas"},"content":{"rendered":"

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Carlos Alonso<\/strong><\/span><\/h3>\n

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La serie <\/span>Manos An\u00f3nimas<\/span><\/i> se compone de obras realizadas desde 1981 en diversos materiales, principalmente pasteles al \u00f3leo. Ellas nos hablan de la brutal violaci\u00f3n de derechos humanos producidos durante la dictadura, son las acciones en im\u00e1genes del terrorismo de Estado. Un conjunto que bien podr\u00edan ilustrar los relatos reunidos por la CONADEP en el informe del <\/span>Nunca m\u00e1s<\/span><\/i>.\u00a0<\/span><\/p>\n

En la serie, la representaci\u00f3n del cuerpo humano vulnerado convierte a la obra en una cr\u00edtica acerca del ejercicio del poder, poniendo en tensi\u00f3n la forma de representar un tradicional g\u00e9nero como es el desnudo.<\/span><\/p>\n

Carlos Alonso trabaja a lo largo de toda su vida el tema de la violencia, su obra nos propone otro contexto para interpretarla, un no-tiempo anclado en la condici\u00f3n humana.<\/span><\/p>\n

Sus elaboraciones pl\u00e1sticas dialogan consigo misma y con la historia del arte. Hay en ellas elementos que vuelven sobre obras propias y ajenas (formas revisadas del arte occidental que aparecen en sus pinturas).<\/span>\u00a0<\/span><\/p>\n

En un amplio arco de producci\u00f3n, Alonso experiment\u00f3 con diferentes materiales y t\u00e9cnicas: \u00f3leos, acr\u00edlicos, collages, punta seca, xilograf\u00edas, litograf\u00edas, aguafuertes y aguatintas. Su obra se inscribe dentro del expresionismo, representando la realidad de manera incisiva, dram\u00e1tica y descarnada, a veces con cierta iron\u00eda o sarcasmo.<\/span><\/p>\n

Se interes\u00f3 abiertamente por los temas pol\u00edticos y sociales, impactando directamente en el espectador por la manera en que los representa. Son creaciones que configuran un estilo brechtiano, <\/span>encarnado. <\/span><\/i>No es un estilo uniforme o est\u00e1tico. Sobre esto dir\u00e1: \u201cPara m\u00ed, estilo encarnado significa que aparece cuando el actor est\u00e1 movilizado carnalmente, en su totalidad. No es algo s\u00f3lo intelectual, est\u00e1 involucrada la carne, las v\u00edsceras, toda la persona. No se maneja como un arte meramente manual, va mucho m\u00e1s all\u00e1, hace falta una serie de coincidencias, de engranajes que se juntan y empieza a funcionar el encarnado. Aparece cuando se conjugan varias cualidades que no son solamente el color, la forma, la composici\u00f3n, sino tambi\u00e9n otras sustancias\u201d (Revista La Marea n\u00b0 22: 2004)<\/span>. <\/span><\/i><\/p>\n

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– Parte (I) <\/b>–<\/span><\/h1>\n

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button_two_bg_color__hover_enabled=\u00bboff\u00bb button_two_bg_color__hover=\u00bbnull\u00bb]<\/p>\n

El dolor y la monstruosidad declaran ser parte parte de la condici\u00f3n humana. Las bestias de aquel infierno de 1976 son retratadas por Alonso en un tr\u00edptico fundado por las tres acciones del horror: la tortura como instrumento, la transformaci\u00f3n de prisioneros en desaparecidos y la instalaci\u00f3n de centros clandestinos de detenci\u00f3n. <\/span><\/p>\n

Manos An\u00f3nimas<\/i><\/b>\u00a0(estudio) 1989. L\u00e1piz, cray\u00f3n, pastel sobre papel.<\/b>
<\/strong><\/span><\/p>\n

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Para el triunvirato de las fuerzas -Agosti, Videla y Massera- la represi\u00f3n fue la esencia misma del poder conquistado. Alonso lo captura en toda su monstruosidad. Expresiones duras, feroces, sangrantes se arman a partir de una l\u00ednea que se enrolla, se tensa y traza con violencia la imagen de una naturaleza despiadada. <\/span><\/p>\n

<\/span>Amanecer Argentino I,\u00a0<\/i><\/b>1991. Pastel y \u00f3leo sobre papel<\/b>
<\/strong><\/span><\/p>\n

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– Parte (II) <\/b>–<\/span><\/h1>\n

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El eje de la pol\u00edtica represiva de la dictadura fue inocular el terror en toda la sociedad argentina a trav\u00e9s del secuestro, la tortura y la desaparici\u00f3n. El objetivo del plan fue desarmar, descomponer, quebrar y romper el tejido social de forma real y simb\u00f3lica. Alonso lo representa magistralmente en cada una de las escenas referidas a los operativos de secuestros.\u00a0 Sus composiciones rotas y paletas di\u00e1fanas transparentan la vulnerabilidad de las infancias y el miedo como f\u00f3rmula. Con terror y\u00a0 desconfianza\u00a0 la dictadura se asegur\u00f3 un largo per\u00edodo de desarticulaci\u00f3n social.\u00a0 <\/span><\/p>\n

\u00a0\u00a0Manos An\u00f3nimas I<\/i><\/b>, <\/b>1986 – Pastel sobre papel <\/b><\/strong><\/span><\/p>\n

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\u00a0Manos An\u00f3nimas II<\/i><\/b>,<\/b> 1986.<\/b>
<\/strong><\/span><\/p>\n

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<\/span>Manos An\u00f3nimas XIII<\/i><\/b>, 1986<\/b>. <\/span>Pastel sobre papel\u00a0<\/b>
<\/strong><\/p>\n

[\/et_pb_cta][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/www.comisionporlamemoria.org\/museo\/wp-content\/uploads\/sites\/18\/2022\/08\/Copia-de-Figura-3.jpg\u00bb title_text=\u00bbCopia de Figura 3″ align_tablet=\u00bbcenter\u00bb align_phone=\u00bb\u00bb align_last_edited=\u00bbon|desktop\u00bb _builder_version=\u00bb4.17.6″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.17.6″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.17.6″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_divider show_divider=\u00bboff\u00bb _builder_version=\u00bb4.17.6″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=\u00bboff|desktop\u00bb admin_label=\u00bbHeader Row\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb min_height=\u00bb185.5px\u00bb custom_margin=\u00bb|||\u00bb custom_padding=\u00bb|||\u00bb custom_padding_phone=\u00bb3vw|||\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text admin_label=\u00bbHeading & Subheading\u00bb _builder_version=\u00bb4.17.6″ text_font=\u00bbMuli|600|||||||\u00bb text_font_size=\u00bb18px\u00bb text_line_height=\u00bb1.8em\u00bb header_font=\u00bbMuli|700|||||||\u00bb header_font_size=\u00bb65px\u00bb header_line_height=\u00bb1.4em\u00bb header_2_font=\u00bb||||||||\u00bb text_orientation=\u00bbcenter\u00bb max_width=\u00bb800px\u00bb max_width_last_edited=\u00bboff|desktop\u00bb module_alignment=\u00bbcenter\u00bb custom_margin=\u00bb|||\u00bb custom_padding=\u00bb|||\u00bb custom_padding_last_edited=\u00bboff|desktop\u00bb animation_style=\u00bbfade\u00bb header_font_size_tablet=\u00bb\u00bb header_font_size_phone=\u00bb50px\u00bb header_font_size_last_edited=\u00bbon|desktop\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

– Parte (III) <\/b>–<\/span><\/h1>\n

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Las mujeres detenidas desaparecidas padecieron modos de tortura espec\u00edficos por su condici\u00f3n de mujer militantes (por pertenecer a una organizaci\u00f3n pol\u00edtica o barrial, comunal u obrera). Esta tortura sistem\u00e1tica implic\u00f3 diferentes formas de abuso sexual, malos tratos y torturas a embarazadas, maternidades clandestinas y robo de los beb\u00e9s nacidos en cautiverio.<\/span><\/p>\n

\u00a0 <\/i><\/b>Amanecer argentino II,\u00a0<\/i>1984. Pastel sobre papel. <\/b><\/strong><\/span><\/p>\n

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En el modelo cultural que intent\u00f3 imponer la dictadura, la mujer deb\u00eda quedar recluida al territorio de lo dom\u00e9stico -no pod\u00eda ser activa en sus posiciones pol\u00edticas- y ten\u00eda que quedar rezagada y obediente a su marido y, a trav\u00e9s de su figura, al poder social. Los torturadores encarnados en los valores patriarcales y religiosos materializaron el mandato de \u201chacer doler\u201d, los suplicios sin miramientos. Ese fue el castigo por el deseo y la voluntad colectiva\u00a0 de \u201cotro para\u00edso\u201d sin tanta desigualdad. <\/span><\/p>\n

\u00a0<\/i><\/b>Amanecer Argentino III<\/i><\/b>, 1989<\/b>. Pastel sobre papel<\/b> <\/strong><\/span><\/span><\/p>\n

<\/span>
<\/strong><\/p>\n

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<\/span>Manos An\u00f3nimas V<\/i><\/b>, 1984. Pastel sobre papel.<\/b>
<\/strong><\/p>\n

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Manos An\u00f3nimas X<\/i><\/b>, 1986. Pastel sobre papel.<\/b>
<\/strong><\/p>\n

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Manos An\u00f3nimas XII<\/i><\/b>, 1984. Pastel sobre papel.<\/b>
<\/strong><\/p>\n

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Carlos Alonso La serie Manos An\u00f3nimas se compone de obras realizadas desde 1981 en diversos materiales, principalmente pasteles al \u00f3leo. Ellas nos hablan de la brutal violaci\u00f3n de derechos humanos producidos durante la dictadura, son las acciones en im\u00e1genes del terrorismo de Estado. Un conjunto que bien podr\u00edan ilustrar los relatos reunidos por la CONADEP […]<\/p>\n","protected":false},"author":40,"featured_media":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"footnotes":""},"project_category":[31],"project_tag":[],"class_list":["post-45501","project","type-project","status-publish","hentry","project_category-muestras-digitales"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/project\/45501","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/comments?post=45501"}],"version-history":[{"count":0,"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/project\/45501\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/media?parent=45501"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/project_category?post=45501"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/www.comisionporlamemoria.org\/museo\/wp-json\/wp\/v2\/project_tag?post=45501"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}