The bloodiest civic-military coup d’état in the history of our country took place forty years ago. The start of the last dictatorship on March 24th 1976 meant not only the implementation of a political-repressive project by the military power, the dismantling of revolutionary projects, the practice of state terrorism and the systematic disappearance of people, but also a profound economic and social transformation in Argentina.
In the words of Didi-Huberman, in order to know it is necessary to imagine. In order to remember it is necessary to imagine, he stresses. The unimaginable is not but an excuse. Images are clues, memory fragments, possible testimonies, tangles, roads or destinies. Images and sounds trigger reflexive processes dialectically articulated with documents.
The marches fill Plaza de Mayo with crowds every year on March 24th. The tiles and the memorials highlight what cannot be erased: the very existence of the disappeared. The third edition of the Biennial of Moving Images (2016) on the fortieth anniversary of the civic-military coup invited ten Argentine artists to create a piece that represented a new space for reflection.
As more images are always necessary, ten more exercises were added to the others. It is an echo, a collective construction, a form of insistence, an exercise. It is a way to be present and not disappeared.