Risking Images, After All

This chapter focuses on the aesthetic interventions that have gradually taken place at the Espacio Memoria y Derechos Humanos, ex-ESMA in Argentina since it became a site of memory in 2004. The philosophy of what to do with the buildings has altered over time, and the risk of images has been taken, so that a series of encounters have been staged for the visitor. With a focus on the Casino building, where over 5,000 prisoners were secretly imprisoned during the 1970s, the chapter considers how the images have intervened at the site, how they make propositions to the viewer and negotiate the concerns about their presence there. The chapter asks how these interventions seek to give form to what has been termed the “formlessness” of terror. It considers the use of photography, footage from the trials, and the contentious performance piece by Polish artist Wojtek Ziemilski, staged in 2019.