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Franken, M. Angélica
Catedral tomada (Pittsburgh, PA ), 12/2022, Volume: 10, Issue: 19Journal Article
During the last recent years there has been a series of intermedial works situated between the thresholds of fiction and testimony which have considered the dramatical events taken place in the German settlement of the former Colonia Dignidad (1969-1997), where systematic rape and abuse was inflicted against Germans and Chileans. That is the case of the novel Sprinters. Los niños de Colonia Dignidad (2016) by Lola Larra, the pictorial series La Colonia (2015) by Mariana Najmanovich, the stopmotion animation La casa lobo (2018) by León&Cociña, and Un lugar llamado Dignidad (2021) by Matías Rojas Valencia. In all of them a series of ‘First World’ affective imaginaries and practices are represented, such as being in contact with nature, the practice of sports and musical development, understood as a chosen space/time for education, submissiveness, and bodybuilding of docile bodies conducted by Paul Schäfer. These artistic works realised on how these allegedly childish and familiar practices hide an unsettling and contradictory reality which gave rise to the uncanny and to a German nationalist identity linked to transnational imaginaries such as Romanticism on Chilean soil. En los últimos años han aparecido una serie de obras intermediales que han abordado, en los límites de lo ficcional y testimonial, los hechos dramáticos ocurridos en el enclave alemán de la ex Colonia Dignidad (1969-1997), donde se perpetraron violaciones y abusos sistemáticos contra alemanes y chilenos. Es el caso de la novela Sprinters. Los niños de Colonia Dignidad (2016) de Lola Larra, la serie pictórica La Colonia (2015) de Mariana Najmanovich, el stopmotion La casa lobo (2018) de León&Cociña, y a Un lugar llamado Dignidad (2021) de Matías Rojas Valencia. En ellas, se representan una serie de imaginarios y prácticas afectivas del primer mundo como el contacto con la naturaleza, la realización de deportes y el mundo musical particularmente en la juventud entendida como espacio/tiempo predilecto de formación, de sometimiento disciplinar y construcción de cuerpos dóciles por parte del líder, Paul Schäfer. Estas obras artísticas dan cuenta de cómo estas prácticas aparentemente pueriles y familiares esconden una realidad inquietante y contradictoria que da lugar a lo siniestro y a una identidad nacionalista alemana en territorio chileno vinculada con imaginarios trasnacionales como el romanticismo.
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