Los Desaparecidos II (The Disappeared II)

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Nacido en Buenos Aires, Argentina y criado en Uruguay, Antonio Frasconi es uno de los artistas de xilografía con más trayectoria en los Estados Unidos. Inspirado por "ukiyo-e," un género de xilografía japonesa que se remonta as silgo XVII, Frasconi utilize esta téchnica tanto para productos comerciales como para comentarios politicos a lo largo del siglo XX. Los desaparecidos II, un ejemplo de comentario politico, rinde homenaje a los cuidadanos detenidos y desaparecidos por la dictaduras militares en Argentina (1976–1983), Chile (1973–1990) y Uruguay (1973–1985),m todas apoyadas por los Estados Unidos. Estos cuidadanos, conocidos como los desaparedicos, nunca fueron hallados con vida. A pesar de los esfuerzos, algunos aún activos, para localizarlos, la mayoría nunca ha sido encontrada, ye se estima que el número total de desaparecidos o Muertos suma alrededor de 33.000 personas. En el grabado de Frasconi vemos a un rehén asesinado, con la manos atadas y la cabeza cubierta. El cuerpo sin rosto, que representa aquellas personas que abiertamente promovían políticas de izquierda en la era de la Guerra Fría, yace sin vida, con sangre formando un charco a su alrededor. El detalle de la deta de madera de bloque de impression invita a los espectadores a enfrentar la obra directamente y a reflexionar sobre un episodio doloroso en la historia de las Américas.

Born in Buenos Aires, Argentina and raised in Uruguay, Antonio Frasconi is widely regarded as one of the most accomplished woodcut artists in the United States. Inspired by ukiyo-e, a Japanese woodcut style originating in the seventeenth century, Frasconi used the medium for both commercial goods and political commentary throughout the twentieth century. Los Desaparecidos II (Spanish for "the disappeared") depicts an example of the latter, paying homage to the citizens seized and disappeared by the US-backed military dictatorships in Argentina (1976–1983), Chile (1973–1990), and Uruguay (1973–1985). These citizens were never seen again and same to be known as los desaparecidos. Despite ongoing efforts to locate them, most remains have never been found, with estimates totaling around 33,000 missing or dead. Frasconi’s print presents a murdered hostage, with hands bound and head covered. The faceless body, standing in for those with over leftist politics in the Cold War era, lays lifeless with blood pooled around the figure. The raw details of the printing block’s wood grain invites viewers to closely engage with the print and reflect upon a painful event in the history of the Americas.

From the 2019 exhibiton A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, curated by Armando Pulido '19, Class of 1954 Intern

Course History

LALACS 80.2, GOVT 84.6, AAAS 90.1, Latin American, Latino and Caribbean Studies, Identities and Power in the Americas, Lisa Baldez, Spring 2019

ARTH 48.06, Borderlands Art and Theory, Tatiana Reinoza, Spring 2019

Exhibition History

A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, Armando Pulido, Class of 2019, Class of 1954 Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 11-June 16, 2019.

Hopkins Center 25th Anniversary Exhibition: Artists-In-Residence at Dartmouth, Jaffe-Friede Gallery, Hopkins Center Art Galleries, Dartmouth College, Hanover, New Hampshire, March 12-May 22, 1988.

Learning About Prints, Harrington Gallery, Hood Museum of Art, Dartmouth College, September 17-December 11, 1988.

Publication History

Armando Pulido, Class of 2019, Class of 1954 Intern, A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019.

Provenance

The artist, South Norwalk, Connecticut; sold to present collection, 1984.

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