This article analyses three artistic projects that contribute to a transnational artistic memorialisation of Operation Condor: João Pina’s project Condor (2005–2014), the documentary film by Pedro Chaskel, De vida y de muerte, testimonios de Operación Condor (2000–2015), and Voluspa Jarpa’s En nuestra pequeña región de por acá (2016/2017). Situated at the crossroads of the study of the role of art in Transitional Justice processes and cultural memory studies, this article conceptualises the role of art in forging a transnational memory through the lens of the “art and politics of memory”. Using Jacques Rancière’s observation of the role of art in building a new “distribution of the sensible”, this investigation argues that artistic practices of remembrance employ three strategies. In the first place, they render visible those who are still absent; secondly, they document and provide supplementary sources about human rights abuses during dictatorships, and thus give back human dignity to the victims. Finally, they also criticise the status quo of official memory. In the absence of a transnational memory of the secret cooperation that occurred within Operation Condor, artistic practices of remembrance help build this memory and create a “distribution of the possible”.

中文翻译：

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秃鹰行动的跨国艺术纪念：记录“可能的分布”

本文分析了有助于对秃鹰行动进行跨国艺术纪念的三个艺术项目：João Pina 的 Condor 项目（2005-2014），Pedro Chaskel 的纪录片，De vida y de muerte，testimonios de Operación Condor（2000-2015），和 Voluspa Jarpa 的 En nuestra pequeña región de por acá (2016/2017)。本文位于艺术在过渡正义过程中的作用研究和文化记忆研究的十字路口，通过“记忆的艺术与政治”的视角，将艺术在塑造跨国记忆中的作用概念化。利用雅克·朗西埃对艺术在构建新的“可感知的分配”中的作用的观察，这项调查认为，纪念的艺术实践采用了三种策略。首先，它们使那些仍然不在的人可见；其次，他们记录并提供独裁时期侵犯人权的补充资料，从而使受害者恢复人的尊严。最后，他们还批评了官方记忆的现状。在没有对秃鹰行动中发生的秘密合作的跨国记忆的情况下，记忆的艺术实践有助于建立这种记忆并创造“可能的分布”。