Abstract | After five decades of internal conflict, Colombia's 2016 Peace Agreement acknowledged sexual violence as an act primarily affecting women who had been previously understood as indirect victims, suffering the murders and disappearances of their loved ones. One of the three memorials for the Peace Agreement built as part of Colombia's effort to make symbolic restitution serves as evidence of this. Doris Salcedo's Fragmentos: Space of Art and Memory (2018) spotlights sexual and gender-based violence, enlisting the participation of 20 women victims of sexual violence during the conflict. This chapter examines how Fragmentos, by originally offering itself as a platform to elevate and amplify the voices of women, confronts the invisibility of women as direct victims of armed conflict. However, as an art space which hosts temporary exhibits linked to the theme of conflict, the women participants’ contributions have been but tangential; this chapter argues that these victims have been potentially invisibilised by the introduction of these new incurrences. The chapter questions the limitations of women victims’ participation in the context of transitional justice in Colombia, especially in relation to artistic license and control, concluding that, once visibilised, victims’ contributions, having once been testimonial and crucial, become merely referential. |
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