Produced by the Research and Monument Area of the Memory Park – Monument to the Victims of State Terrorism.
With texts by Albertina Carri, Natalia Fortuny, Martín Kohan, Ana Longoni and Laura Malosetti Costa.
Photographic interventions by Marcelo Brodsky.
Printed by Latingráfica
© 2023
Images with a story
— a collective family album
This institutional publication compiles the results of the eponymous call for submissions: an exhaustive research project undertaken by the Monument team at the Memory Park to gather photographs, testimonies, and anecdotes of those detained, disappeared, and murdered by state terrorism in Argentina. The project benefited from the collaboration of artist Marcelo Brodsky, who intervened in the archival images using color and handwritten typography to restore their vitality and human dimension.
The editorial design strategy was based on visual silence: a strict minimalism conceived to allow the photographic materiality to take center stage. The texts—mostly stories and biographical fragments provided by the families themselves—were structured using epigraphs, accompanying each entry without cluttering the page.
Based on this, the material was organized around four thematic cores or constellations: Militancy, Celebration, Family y Portraits. This sequencing groups the files based on the experiences, affections, and daily projects of the victims, shifting the focus from the tragic outcome to the reconstruction of their life stories.
Each section opens with a critical essay by researchers and academics such as Albertina Carri, Natalia Fortuny, Martín Kohan and Laura Malosetti Costa, complemented by a prologue by Ana Longoni and texts from the Research team made up of Vanesa Figueredo and Agustín Gentile.
Through everyday fragments—a trip to the south instead of the graduation trip, a walk between siblings through the Flores neighborhood, a wedding or a meeting of friends over drinks—the private scenes are articulated throughout the pages to constitute what Ana Longoni defines in the prologue as a "collective family album".
When these micro-histories come together, they leave the intimate sphere to become a political and patrimonial corpus that belongs to society as a whole, operating as a graphic device that sustains, image by image, a collective memory in constant construction.
