Um trabalho pós-memorial: o caso de Daniel Blaufuks

Abstract

Partindo da noção de pós-memória reflete-se sobre memória, família e fotografia, bases fundamentais na construção conceptual do termo formulado por Marianne Hirsch. Entre a geração pós-memorial, ligada aos eventos do Holocausto, destaca-se o fotó­grafo e artista visual português Daniel Blaufuks que, através das obras Sob Céus Estranhos (2007) e Terezín (2010), ilustra exemplarmente alguns dos pressupostos de um trabalho de pós-memória.

Starting from the notion of post-memory, this article discusses memory, family and pho­tography, which are foundational concepts in the construction of the term “post-mem­ory” as formulated by Marianne Hirsch. Among the post-memorial generation con­nected with the events of the Holocaust, Portuguese photographer and visual artist Daniel Blaufuks stands out, notoriously illustrating through his Sob Céus Estranhos (2007) and Terezín (2010) some of the assumptions of a post-memory work.

Partant de la notion de postmemory (Hirsch), cet article traite de la mémoire, de la famille et de la photographie, bases fondamentales dans la construction conceptuelle du terme formulé par Marianne Hirsch. On distingue, dans la génération postmemorielle liée aux évènements de la Shoah, le photographe et artiste visuel portugais Daniel Blaufuks, qui illustre remarquablement certains des présupposés du travail de la post­mémoire dans Sob Céus Estranhos (2007) et Terezín (2010).