This article presents works developed over the past five years in the field of the aesthetics of memory, operating at the interface between art and historical heritage. They are: Memória da amnésia (2015), Memórias de areia, Monumento nenhum and Chacina da Luz (2019). Drawing on these projects and following Jorge Otero-Pailos and Andreas Huyssen, I argue that art enables new approaches to the politics of memory by placing institutional conservation procedures under tension and enacting dissent toward the market of invented traditions. Different in their languages and conceptual repertoires, the projects discussed here prompted reflections on art’s power to challenge heritage through antimonumental perspectives and experimental preservation.
Memoricidade. December – Number I – Volume I – 2020, pp. 14–21.