Marisa Rueda (1941 - )


    ...y despues se erigen monumentos

    We were in the middle of the terror of the dictatorship in Argentina (1976-1983) when I did this piece. Torture, that companion of war and repression, was being used in Argentina.
    London's human rights groups were reporting on this every day. We were living outside of our country; fighting for someone to listen, for countries to acknowledge the reality in Argentina.
    I was producing a series of sculpture based in the victims of this tragedy. At the time I was living in a very run down corner of Portobello Road, everywhere there were waste materials to be used.
    Parts of bodies, sensual bodies, fighter's bodies full of energy; these were the victims that I tried to convey. The expressionist-realist language I used was a means to convey the message in a very direct way, for everybody to understand.
    The work was shown at exhibitions informing the public about the situation in Argentina, for example those organised by Amnesty International at the time of the dictatorship.
    When I had to give a title to this piece, I thought that the day would come when monuments for these victims would be erected. Even those democratic governments worldwide that did not want to consider the military in Argentina to have been dictators. Those that were turning a blind eye, or even selling arms to them; they would pay for these monuments. Like in the Spanish Civil War, like in the Holocaust, like in Hiroshima, and so on.

    ...y ellos tambien rezan

    The Heads of the Catholic Church in Argentina supported the actions of the dictatorship; many of its members, and priests, took part in actions against the dictatorship's victims.
    This is a sculpture of a General praying. It is, in a way, a contradiction in terms: how can a person in charge of torture, disappearance and killing pray? What does he feel so righteous about? And why? Is he asking for help in his 'job'
    At the time I was searching for ways to produce sculpture that - as in cubism - shows different faces at the same time. The idea was to show the duality of personality, a concept visible here in the different postures of the head. The piece also has intimacy; its size and material brings it close to a domestic object.

    Marisa Rueda, London


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