Heritage and vandalization: an invitation to think about how to narrate ourselves as a society

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In Brazil protesters caused irreparable to that country’s heritage. Public photos. The of historical and cultural heritage as occurred on Sunday January 8 in Brazil when protesters from the far-right Bolsonaro who called for a coup ed works of art furniture and structures of the emblematic buildings of the three powers of Brasilia leads to reflections critics about how we should relate to ourselves as a society from this context says the Argentine anthropologist specialist in heritage Mónica Lacarrieu: it is an unprecedented event in that country highlights her Brazilian colleague Gustavo Pacheco. of the presidential elections in Brazil that Luiz Inácio Lula da Silva won by a narrow difference supporters of the now former president Jair Bolsonaro broke into the government buildings of Brasilia causing irreparable to the heritage of that country: historical furniture 一統徵信個資 documents and objects were ed including works by some of the most important Brazilian artists Sileños like Di Cavalcanti Burle Marx and Franz Krajcberg points out Pacheco former cultural attaché of the Brazilian emby in Argentina and Undersecretary of Cultural Heritage of the Federal District between 2016 and 2018. Doors and windows torn from their hinges; graffitied walls; raised Portuguese stone floors leaky marble burnt carpet; even the roofs were marked with objects and garbage thrown by the protesters. They tore curtains smashed furniture. They took away the security cameras; they broke the entry barriers for vehicles. The situation was repeated in the Presidential Palace of Planalto the headquarters of the Supreme Court and the Congress vandalized treasures of modern architecture by Oscar Niemeyer. Iconic paintings ed by water by fire or perforated like the Brazilian Flag that served background for presidential speeches painting by Jorge Eduardo in 1995 found floating on the flooded ground floor of the Planalto Palace and Las mulattas one of the most important works by Di Cavalcanti (1962) valued at more than one mion and half dollars and found with seven punctures on the canvas pably e with the same Portuguese stone that they tore up from the ground conjectures the preliminary report of the Institute of National Historical and Artistic Heritage of Brazil. Photo: AFP Of the only two surviving pendulum clocks in the world by Baltasar Martinot a 17th-century watchmaker who worked for King Louis XVI of France the sler is in Versaes the larger a gift from the French Court to John VI of Portugal Brazil and the Algarve between 1816 and 1822 was in this building and it was totally ed the pieces scattered on the ground some stolen. The same as the bronze sculpture The Pied Piper of Hamelin by Bruno Jorge or the mural sculpture in wood by Frans Krajcberg; or the work table of Juscelino Kubitscheck the visionary ex-president behind the idea of ​​Brasilia a capital built from scratch in the middle of the savannah and inaugurated in 1960 used as a barricade by protesters. The is inestimable officials repeated in notes and interviews replicated by the international press but what is ed when these symbols are ed what narratives subsist against what do these collective and actions charge beyond from the symbolic? What is and what is od when public heritage is ed? On January 8 protesters ed works of art and furniture from emblematic buildings of the three powers of Brasilia. Photo: AFP. Mainly the symbolic-identity structure that crosses social life as a whole beyond the fact that not all ets are recognized by society as a whole -says Lacarrieu-. The of an artistic work or a monument is disturbing not only because of the materiality that is but also because of what it meant for parts of society that lose references to the past and from which they recognize themselves and find belonging. It is essential to point out that what there was on January 8 was not a popular demonstration but a deliberate and attempt to elish chaos for the purpose of political deilization. There is no possible justification for the of cultural heritage within the framework of this type of action Pacheco intervenes.In addition to creating conditions for a possible military intervention they wanted to express their contempt for the institutions of democracy in the most visible way by making their own show broadcast live on social networks 一統徵信個資 representing a and counterpoint to the popular festival of the previous Sunday. January 1 when Lula od 2023 uming the presidency in a popular party with hundreds of thousands of people musical shows and no incidents says the anthropologist. The symbolic caused by the coup leaders is as important or more important than the physical . The clearest lesson of January 8 is that Brazil as a nation failed in the basic task of coming to terms with its own and past and until it does that past w come back from time to time to ize and nize it he postulates. Heritage Lacarrieu points out 一統徵信個資 are opportunities to think about our identities. In the 20th century it served to build and legitimize the nation consequently to build the national identity although at the present time that national identity is in permanent debate because there are other belongings other identities and the clical patrimonies led to denying or erasing them. .Heritage is also the result of a story he erts ets contribute to its elaboration which is why when an et or a monument is discussed or ed one is also discussing the story that was built around it. But society w not always be ready for this change, 一統徵信詐欺 一統徵信個資 for the reformulation of the story that gives identity it is easier to change the story than the identity belonging to which we have recognized ourselves and recognize others he says. For this reason when in times of Cristina Kirchner removed the statue of Columbus an opportunity to rethink ourselves as Argentines generated the opposite a controversy about what would be the reasons to remove it if it is part of our history placing the plem in the of the monument and not in the I rethink about who we want to be how to project ourselves into the future and how to decolonize ourselves. Until the cases of the ault on the Capitol hapd – on January 6 2021 when the votes that would definitively leave Donald Trump out of the game in the United States- and especially that of Brasilia the specialists considered that heritage had become a resource of dissent and resistance that it had taken of a political and politicizing character that was not originally attributed to it indicates Lacarrieu also a professor at the University of Buenos Aires. across Europe in the midst of the 2020 pandemic with the beheading and of public statues – had become a resource for discussing or colonial power relations. If heritage had been the result of selective state activations of ets that represented the power elites in La Paz Bolivia in 2020 the statue of Isabel La Católica was intervened with Bolivian chola attire (a hat an aguayo) an action that was defended by María Galindo a Bolivian activist under the argument that Spanish colonialism had elished the representation of a white woman denying the indigenous graphic. For years it was sought that the p marriage was decontextualized and transcended political conjunctures government orders changes of power. However contemporaneity od the doors to observe that heritages are contextual and can only be understood from the context in which they were activated -she explains- she. It is this valuation that can lead certain groups to try to appropriate goods works and sites not so much for the work or the good itself but for what it can cause in others especially in those who hold power. Those cases they seemed to place public heritage in a place opposite to what it had always had he points out it was the left-wing groups the resistance the activists who argued with the elites. The Black Live Matters movement uprooting statues European anarchists throwing monuments into the river environmentalists throwing soup at a Van Gogh painting led us to think about heritage in the context of disputes ociated with contemporary plems that require public debates to resist Eurocentric models. In any case on one side and on the other says Lacarrieu heritage it enters into social conflicts and above all it becomes a political resource to challenge power and ideological models.Only that in the past it closed stories from the selection and activation of certain symbols ociated with those who held power and legitimized certain social groups: the white the masculine the elite 一統徵信個資 the hetero. In the present heritage serves to discuss from the conflict and the staging of it not only with those attributes of the Eurocentric world but also to answer the power that is not related to me -sentence- and it is these different cases that lead us to wonder how far this type of practice opens the path towards the valorization of citizen rights and the breaking of colonial values of erasure of peoples that were subjected. Shahmama Buddha statue. Photo: AFP Heritage and wars: inequality new order monuments and counter-monumentsHow does the of heritage reformulate a context such as that of war? Since the invasion of Ukraine in 2022 more than 150 cultural and historical sites have been ed reported the UNESCO a situation that in this century has its closest emblematic antecedents in the memory of the world population with the of the Bamiyan Buddhas in Afghanistan at the hands of the Taliban in 2001 and the of the Temple of Bel in Palmyra by the ists of Daesh in 2015 for example. Anthropologist Mónica Lacarrieu explains that although they are all different cases these situations lead us to think about the reasons that lead to heritage works goods and historical and/or artistic sites being ed. of the Bamiyan Buddhas – two monumental statues carved into a cliff 2500 meters above sea level in central Afghanistan between the 5th and 6th centuries in Greco-Buddhist style – it was an affront from the Taliban to humanity as a whole obviously from a historical et declared a World Heritage Site by Unesco graphic Lacarrieu. The claim he explains was for the food and nutrition of children but basically it was about reopening the debate on the relevance that a monument or a historical et acquires over the unequal present in which the world lives. The very notion of heritage of humanity is constructed by the West and has been sought to be universal for humanity with which the Taliban also decided to argue with the West itself with the interventions of the international organizations of the West and the power that the Eurocentric world continues to hold over the rest of the planet he points out. The on the Buddhas indicates then it puts us in front of the dilemma of how to position ourselves against the without being able to accept the to the letter because it is an on the memories of the world Even though the Buddhas like the pyramids and Egyptian mummies have up until now valued the elites and erased the workers who d to build them. In this sense he says heritage is also a representation of inequality the plem is when those who They take charge of that inequality are power groups that democracies another value that can be universalized but complex to put into discussion. In wars more inct s take place sometimes deliberate but not always -he remarks-. War is a turning point that opens cracks and when it involves s on specific heritage it leads to the removal of material and symbolic references from public spaces that represent the unaltered power that is being fought. Generally postulates after a war or When the person who umes power tries to discipline society (because heritage is punitive and moralizing) goods that are no longer conceived as part of the present context are ed and other goods representative of the new power are put in their place. But there are other options as well. Lacarrieu says and the German case is interesting in this sense it fights against m but sometimes monumental references are left as a mechanism ociated with the public debate in which society must participate. The example of the Berlin wall can serve to think about that against the monumentality of the monuments that had to be removed to say that this object in the public space is already intolerable. The counter-monument is an alternative to the traditional monumentality that glorifies events personalities ideologies and this is what has usually hapd in nationalisms he concludes., 一統徵信詐欺

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