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This article parses opposing currents in Peru?s collective memory of their bloody internal war (1980?2000) through an analysis of acts of vandalism perpetrated against one of the country?s few sites of memory, the Ojo que llora, in Lima. ?Vandalism? in this article is understood as a form of writing (though a violent one) of an alternative vision of the past. Originally intended as a space for remembering and paying homage to the victims of the armed conflict, the site has become a space for contesting disputed memories. As a site of performance of memory and human rights claims, and especially as the target of continued defacement, the Ojo que llora has become a stage on which the perduring presence of the past ? in its still-conflictual strains ? is made visible for national and international publics. It thus refuses the very closure that government narratives would impose, and thereby keeps open public engagement with the past. The ongoing conflicts over the past made visible at this site point to the struggles to define an over-arching memory, and in the process the very meaning of ?victim? is constrained.

Después del conflicto armado interno y una comisión de verdad que investigó los veinte años precedentes (1980-2000), Perú está en el proceso de escribir en espacios públicos las narrativas que proveen las marcas para organizar las memorias individuales y colectivas de este pasado reciente. Este trabajo estudia dos espacios públicos, una serie de eventos en Ayacucho durante la entrega del Informe final de la Comisión de Verdad y el monumento El ojo que llora en Lima. Una de las memorias más conflictivas apunta a quién es la víctima apropiada y el héroe nacional para recordar.

Various multiple-disciplinary terms and concepts (although most commonly “interdisciplinarity,” which is used herein) are used to frame education, scholarship, research, and interactions within and outside academia. In principle, the premise of interdisciplinarity may appear to have many strengths; yet, the extent to which interdisciplinarity is embraced by the current generation of academics, the benefits and risks for doing so, and the barriers and facilitators to achieving interdisciplinarity, represent inherent challenges. Much has been written on the topic of interdisciplinarity, but to our knowledge there have been few attempts to consider and present diverse perspectives from scholars, artists, and scientists in a cohesive manner. As a team of 57 members from the Canadian College of New Scholars, Artists, and Scientists of the Royal Society of Canada (the College) who self-identify as being engaged or interested in interdisciplinarity, we provide diverse intellectual, cultural, and social perspectives. The goal of this paper is to share our collective wisdom on this topic with the broader community and to stimulate discourse and debate on the merits and challenges associated with interdisciplinarity. Perhaps the clearest message emerging from this exercise is that working across established boundaries of scholarly communities is rewarding, necessary, and is more likely to result in impact. However, there are barriers that limit the ease with which this can occur (e.g., lack of institutional structures and funding to facilitate cross-disciplinary exploration). Occasionally, there can be significant risk associated with doing interdisciplinary work (e.g., lack of adequate measurement or recognition of work by disciplinary peers). Solving many of the world’s complex and pressing problems (e.g., climate change, sustainable agriculture, the burden of chronic disease, and aging populations) demands thinking and working across long-standing, but in some ways restrictive, academic boundaries. Academic institutions and key support structures, especially funding bodies, will play an important role in helping to realize what is readily apparent to all who contributed to this paper—that interdisciplinarity is essential for solving complex problems; it is the new norm. Failure to empower and encourage those doing this research will serve as a great impediment to training, knowledge, and addressing societal issues.

La Comisi?n de Verdad y Reconciliaci?n no solo document? la violencia pol?tica de las d?cadas del ochenta y noventa, sino que tambi?n le dio a los peruanos una oportunidad ?nica para examinar las causas y la naturaleza de esa violencia. En El arte despu?s de un pasado fracturado peruano, acad?micos y artistas desarrollan el trabajo de la Comisi?n, argumentando a favor de ampliar la definici?n del testimonio para incluir diversas formas de producci?n art?stica como evidencia documental. Su enfoque innovador en la representaci?n ofrece perspectivas nuevas y convincentes sobre c?mo los peruanos experimentaron esos a?os y c?mo han intentado adaptarse a los recuerdos y legados de la violencia. Los an?lisis abarcan el arte, la memoria y la verdad que resuenan en toda Am?rica Latina tras las "guerras sucias" del ?ltimo medio siglo. Explorando diversas obras de arte, incluidos monumentos conmemorativos, dibujos, teatro, pel?culas, canciones, retablos y ficci?n, as? como una aclamada novela gr?fica, los colaboradores muestran que el arte, no limitado por la verdad literal, puede generar nuevas oportunidades para la comprensi?n emp?tica y solidaria.

Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity.

What happens when the invisible is made visible, when knowledge relegated to society’s margins or swept under its carpet is suddenly inserted into the public domain? The iconic images of German civilians forced to view the newly liberated Nazi camps, standing at the edges of hastily dug trenches full of emaciated bodies are emblematic of an era in which we have faced not only previously unimaginable episodes of mass violence, but have been consternated by how we might engage with these pasts: who should look, at what, how, and to what end? There is an enduring sense that reluctant publics must be forced to confront horrific realities with which we may be somehow complicit—if only in our desire not to really know.

Una mujer camina sola, mientras se limpia las lágrimas de los ojos con una mano. En la otra mano, sostiene distraídamente una hilandera de lana. Uno de sus zapatos está roto. Su espalda está ligeramente inclinada hacia adelante; no por el peso de su bolso, sino de su tristeza. Este dibujo, hecho a lápiz y pastel, se titula “Tras la sombra del dolor” 2. Aunque no hay escenas directas de violencia, el dolor de esta mujer y de su comunidad está inscrito en su cuerpo. Su dolor es visible para nosotros; tal es la capacidad del arte de narrar su experiencia. El arte ofrece un poderoso medio de expresión no verbal. Este artículo se ocupa de las artes visuales en la distribución de las memorias individuales y colectivas del conflicto reciente en el Perú. Dos premisas centrales son la base de esta investigación sobre el arte en el Perú post-Sendero Luminoso: en primer lugar, el arte actúa como un modo de comunicación, y en segundo lugar, a partir de esta comunicación podemos complementar nuestra comprensión histórica de la guerra interna del Perú. Este estudio exige, por lo tanto, ampliar los archivos a fin de incluir otros repositorios de memoria e historia, más allá de los registros producidos por el Estado y escritos 3.

Este trabajo explica cómo el arte relata el pasado y qué pasado es el que el arte decide relatar, analizando las artes visuales presentes en memorias individuales y colectivas del conflicto reciente de Perú (1980-1992). Además, se analizan dos premisas centrales: en primer lugar, el arte actúa como un modo de comunicación; y en segundo lugar, a partir de esta comunicación, podemos complementar nuestra comprensión histórica de la guerra interna que vivió dicho país latinoamericano.