[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb background_enable_image=\u00bboff\u00bb custom_margin=\u00bb0px|0px|0px|0px|false|false\u00bb custom_padding=\u00bb0px|0px|0px|0px|false|false\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb width=\u00bb100%\u00bb max_width=\u00bb100%\u00bb custom_margin=\u00bb0px|0px|0px|0px|false|false\u00bb custom_padding=\u00bb0px|0px|0px|0px|false|false\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/www.comisionporlamemoria.org\/museo\/wp-content\/uploads\/sites\/18\/2025\/03\/podemos-contarlas-scaled.jpg\u00bb title_text=\u00bbpodemos contarlas\u00bb _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px|0px|0px|0px|false|false\u00bb custom_padding=\u00bb0px|0px|0px|0px|false|false\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ custom_padding=\u00bb30px||30px|\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.27.4″ background_color=\u00bb#355584″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb custom_padding=\u00bb2%|2%|2%|2%|false|false\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_tabs active_tab_text_color=\u00bb#355584″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb tab_text_color=\u00bb#355584″ hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][et_pb_tab title=\u00bbESPA\u00d1OL\u00bb _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″]<\/p>\n
MARZO – ACTUALIDAD<\/strong><\/p>\n <\/strong><\/p>\n \u00bfQui\u00e9nes eran? \u00bfC\u00f3mo llegaron a ser lo que fueron?<\/p>\n \u00bfC\u00f3mo se definen los contornos de la identidad y sus contenidos? \u00bfC\u00f3mo se registra la transformaci\u00f3n de una vida? \u00bfQu\u00e9 queda de lo que fuimos? \u00bfC\u00f3mo nos constituyen las miradas de los dem\u00e1s que nos condenan? \u00bfC\u00f3mo nos configuran los que se nos parecen? \u00bfEs la historia la que nos condiciona o somos quienes hacemos la historia?<\/p>\n Fueron las \u201clocas de la Plaza\u201d, las \u201cmadres y familiares de terroristas\u201d, las responsables de una \u201ccampa\u00f1a anti argentina\u201d, las que no hab\u00edan cuidado a sus hijos. Fueron tambi\u00e9n las abrazadas por el pueblo, legitimadas oficialmente y reconocidas por distintas generaciones. Hoy vuelven a sufrir el embate de una mirada que intenta ponerlas en el lado oscuro de la historia, son \u201cchorras\u201d, \u201cmentirosas\u201d, tergiversadoras de la historia. Pero ellas son lo que fueron, lo que hicieron de su vida, atravesadas por la violencia pero tambi\u00e9n por la solidaridad, el amor y la capacidad de hacer con los dem\u00e1s. Cruzaron la frontera y fueron parte de la historia, la mejor de nuestras historias, la de la resistencia, la de la lucha colectiva, la de so\u00f1ar y trabajar para un mundo m\u00e1s justo.<\/p>\n El mundo camina\u00a0<\/strong><\/p>\n \u00bfEn qu\u00e9 momento el boceto torpe de un poema se convierte en el \u00faltimo escrito y en documento hist\u00f3rico?<\/p>\n \u00bfPor qu\u00e9 cobra inmensidad un telegrama que s\u00f3lo dice \u201cllegamos bien\u201d?<\/p>\n \u00bfQu\u00e9 tipo de belleza recubre el molde de un corpi\u00f1o trazado a mano, un tablero con n\u00fameros del sorteo de una camisola de jean bordado, o libros de viaje con anotaciones de ideas, gastos, itinerarios, preguntas?<\/p>\n \u00bfQu\u00e9 instantes de dolor, de lucha, de alegr\u00eda quedaron atrapados en esas fotos caseras?<\/p>\n Podemos contarlas<\/em> est\u00e1 integrada por archivos de mujeres atravesadas por la desaparici\u00f3n de un familiar durante la \u00faltima dictadura militar. Mujeres que dejaron en suspenso parte de su vida para transformarse en otras.<\/p>\n Mujeres que eran estudiantes, trabajadoras, profesionales, amas de casa, madres, hermanas, compa\u00f1eras, abuelas, ni\u00f1as, costureras, cocineras, creyentes, agn\u00f3sticas, dibujantes, actrices, militantes. Y tambi\u00e9n fueron viajeras, escribientes, comunicadoras, detectives, caminantes. Se organizaron y transformaron su reclamo individual en una lucha colectiva.<\/p>\n En el camino del reclamo fueron atesorando cartas, escritos, fotos, afiches, volantes y notas period\u00edsticas que dan cuenta de la b\u00fasqueda personal pero tambi\u00e9n de sus vidas pasadas y de sus acciones posteriores a la desaparici\u00f3n. Los documentos nos dicen acerca de los modos de mirar, de contarse, de indagar, de callar, de ocultar, de gritar, de amar.<\/p>\n \u00bfQu\u00e9 guardaron y para qui\u00e9n? \u00bfQu\u00e9 objetos y documentos narran la existencia del trauma? \u00bfQu\u00e9 dimensiones pol\u00edticas habitan lo dom\u00e9stico? \u00bfC\u00f3mo lo privado ti\u00f1e lo p\u00fablico?<\/p>\n Estos archivos personales muestran la minuciosidad con la que guardaron copias de las cartas enviadas, las respuestas siempre insuficientes, las presentaciones judiciales, las anotaciones en trozos de papel, los reclamos a la dictadura primero y a los gobiernos democr\u00e1ticos despu\u00e9s. Desde el grito desesperado, d\u00f3nde est\u00e1n<\/em> y aparici\u00f3n con vida,<\/em> hasta la b\u00fasqueda persistente de verdad, justicia y memoria.<\/p>\n <\/p>\n Podemos contarlas<\/em><\/strong> exhibe documentos de los archivos personales de:<\/p>\n Nora Morales de Corti\u00f1as <\/strong>(hijo: Gustavo Corti\u00f1as, desaparecido el 15\/04\/1977).<\/p>\n Mabel Penette de Guti\u00e9rrez<\/strong> (hijo: Alejandro Guti\u00e9rrez, desaparecido el 24\/07\/1978).<\/p>\n Rosa Tarlovsky de Roisinblit<\/strong> (hija: Patricia Roisinblit, desaparecida el 8\/10\/1978 y su nieto nacido en cautiverio, Guillermo Rodolfo Fernando P\u00e9rez Roisinblit, y recuperado en 2004).<\/p>\n Isabel \u201cChicha\u201d Chorobik de Mariani<\/strong> (nieta: Clara Anah\u00ed Mariani, desaparecida el 24\/11\/1976)<\/p>\n Matilde \u201cSacha\u201d Artes Company<\/strong> (hija: Graciela desaparecida el 2\/4\/1976 junto a su hija Carla Rutila Art\u00e9s, restituida en 1985).<\/p>\n Olga Martegani de Garc\u00eda<\/strong> (hijo: Alejandro Garc\u00eda, desaparecido el 16\/3\/1977).<\/p>\n Mercedes Lagrava de Mart\u00ednez, <\/strong>(hijo: Atilio Mart\u00ednez Lagrava, desaparecido el 21\/6\/1977).<\/p>\n Mar\u00eda Isabel Catt\u00e1neo de Gonz\u00e1lez<\/strong> (hermano: Atilio Jorge Catt\u00e1neo, desaparecido el 4\/01\/1977).<\/p>\n Adelina Dematti de Alaye<\/strong> (hijo: Carlos Esteban Alaye, desaparecido el 5\/5\/1977).<\/p>\n <\/p>\n [\/et_pb_tab][et_pb_tab title=\u00bbENGLISH\u00bb _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″]<\/p>\n MARCH – CURRENTLY<\/strong><\/p>\n <\/strong><\/p>\n Who were they? How did they become what they were? How are the contours of identity and its contents defined? How is the transformation of a life recorded? What remains of what we were? How do the gazes of others who condemn us constitute us? How do those who look like us shape us? Does history condition us, or are we the ones who make history?<\/span><\/p>\n <\/p>\n They were the \u201ccrazy women of the plaza,\u201d the \u201cmothers and relatives of terrorists,\u201d those responsible for an \u201cAnti-Argentine\u201d campaign, those who had failed to care for their children. They were also embraced by the people, officially legitimized and recognized by different generations. Today they once again suffer the onslaught of a gaze that attempts to cast them on the dark side of history; they are \u201cthieves,\u201d \u201cliars,\u201d distorters of history. But they are what they were, what they made of their lives, marked by violence, but also by solidarity, love, and the ability to do good for others. They crossed the border and became part of history, the best of our stories, one of resistance, of collective struggle, of dreaming and working for a more just world.<\/span><\/p>\n <\/p>\n The World Moves On<\/b><\/p>\n At what point does the clumsy outline of a poem become \u201cthe last piece of writing\u201d and a historical document? Why does a telegram that only says \u201cwe arrived safely\u201d take on immensity? What kind of beauty cloaks the pattern of a hand-drawn bra, or a board with numbers from a lottery for an embroidered denim camisole, or travel books with notes of ideas, expenses, itineraries, questions? What moments of pain, struggle, and joy were captured in those homemade photos?<\/span><\/p>\n <\/p>\n The exhibit is made up of archives of women affected by the disappearance of a family member during the last military dictatorship. Women who put part of their lives and their daily lives on hold to transform themselves into others. Women who were students, workers, mothers, sisters, companions, grandmothers, seamstresses, cooks, children, believers, agnostics, cartoonists, actresses, activists. And they were also travelers, writers, communicators, detectives, walkers. They organized and transformed their individual demands into a collective struggle.<\/span><\/p>\n <\/p>\n Along the path of their demands, they collected letters, writings, photos, posters, flyers, and newspaper articles that recount their personal search, but also their past lives and their actions after their disappearances. The documents tell us about their ways of seeing, of telling stories, of investigating, of keeping silent, of hiding, of shouting, of loving\u2026<\/span><\/p>\n <\/p>\n What did they keep and for whom? What objects and documents narrate the existence of trauma? What political dimensions inhabit the domestic sphere? How does the private color the public?<\/span><\/p>\n <\/p>\n Their personal archives show the meticulousness with which they kept copies of the letters they sent, the always insufficient replies, the court filings, the notes on scraps of paper, the demands first to the dictatorship and then to the democratic governments. From the desperate cry of where they are and their return alive to the persistent search for truth, justice, and memory.<\/span><\/p>\n <\/p>\n Before and After the Absence<\/span><\/i> displays documents from the personal archives of:<\/span><\/p>\n <\/p>\n Nora Morales de Corti\u00f1as <\/b>(mother of Gustavo Corti\u00f1as, disappeared on April 15, 1977).<\/span><\/p>\n Mabel Penette de Guti\u00e9rrez<\/b> (mother of Alejandro Guti\u00e9rrez, disappeared on July 24, 1978).<\/span><\/p>\n Rosa Tarlovsky de Roisinblit <\/b>(mother of Patricia Roisinblit, disappeared on October 8, 1978), and grandmother of Guillermo Rodolfo Fernando P\u00e9rez Roisinblit, born in captivity and recovered in 2004).<\/span><\/p>\n Isabel \u201cChicha\u201d Chorobik de Mariani<\/b> (grandmother of Clara Anah\u00ed Mariani, disappeared on November 24, 1976)<\/span><\/p>\n Matilde \u201cSacha\u201d Artes Company<\/b> (mother of Graciela, disappeared on April 2, 1976, along with her daughter Carla Rutila Art\u00e9s, returned to her in 1985).<\/span><\/p>\n Olga Martegani de Garc\u00eda<\/b> (mother of Alejandro Garc\u00eda, disappeared on March 16, 1977).<\/span><\/p>\n Mercedes Lagrava de Mart\u00ednez<\/b> (mother of Atilio Mart\u00ednez Lagrava, disappeared on June 21, 1977).<\/span><\/p>\n Mar\u00eda Isabel Catt\u00e1neo<\/b> de Gonz\u00e1lez (sister of Atilio Jorge, disappeared on January 4, 1977).<\/span><\/p>\n Adelina Dematti de Alaye<\/b> (mother of Carlos Esteban Alaye, disappeared on May 5, 1977).<\/span><\/p>\n <\/p>\n <\/p>\n [\/et_pb_tab][\/et_pb_tabs][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_button 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