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Lisa Blackmore examines dynamics of hydropower and its contestation by visual, spatial and participatory means in the work of Carolina Caycedo.

This article explores theoretical-methodological challenges in researching the formation of collective memory in the wake of dictatorship. The worldwide growth of memory sites suggests space crystallizes memory into stable formations. However, rather than monolithic discourses, environments attest to complex processes of memorialization and willful amnesia. I propose that research-led filmmaking can draw out spaces’ heterogeneous “stories in waiting.” Through the documentary After Trujillo, which revisits memory sites and ruins of Rafael Trujillo’s dictatorship from 1930 to 1961 in the Dominican Republic, I assess how working at the interface between research and film can (a) probe space’s testimonial capacity; (b) engage audiences in public debates about violent pasts; and (c) stimulate sustainable discussions through online platforms. Given that films still lack recognition as academic outputs, at stake here is the claim that creative methodologies constitute “a form of research” and “detectable research outputs.”

The growth of internet penetration in Latin America, as digital culture scholars have revealed (Taylor & Pitman, 2013), has seen the emergence of tactical media practitioners who push the boundaries of aesthetic form and received discourses. This article examines the use of performance, photography and social media in works by Venezuelan artist Érika Ordosgoitti to assert that her use of Facebook is a deliberate form of “electronic disturbance” (Critical Art Ensemble, 1994) that expands the traditional spatial and temporal horizons of performance. By shorting conventional circuits for the circulation of art, Ordosgoitti’s practice engages broader audiences in critical debates about normative controls of photography and bodily representation in social media. Ultimately, the article contends that the depiction of artist’s nude body is a critical gesture that replaces the complacent selfie with a contestatory “shareware body”. La croissance de la pénétration de l’Internet en Amérique latine est témoin de l’émergence de professionnels des “media tactiques” qui repoussent les limites de l’esthétique et les discours conventionnels, dont les chercheurs de la culture numérique ont révélé (TAYLOR & Pitman, 2013). Notre article traite la performance, la photographie et les médias sociaux dans l’œuvre d’artiste vénézuéliene Érika Ordosgoitti. Je constate que son utilisation de Facebook fait partie d’une stratégie consciente de la "perturbation électronique" (critical disturbance) (CRITICAL ART ENSEMBLE, 1994) qui élargit les horizons spatiaux et temporels traditionnels de la performance. En faisant une court-circuite de la diffusion conventionnelle de l’art, nous engageons un public plus large dans les débats critiques autour des contrôles normatifs de la photographie et sa représentation corporelle dans les médias sociaux. Á la fin, nous maintenons que la représentation d’Ordosgoitti en corps nu représente un geste critique qui remplace la complaisance de la “selfie” avec un "corps de shareware" contestataire.