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The Eye that Cries: Macro and Micro Narratives of Memory in Peru post Shining Path

James Young, in his 1993 work on Holocaust memorials The Texture of Memory, asserts that in order to understand the built response to a traumatic event, it is of vital importance that one examines the interior life of the monument –that is, the field of forces that came together to spur the process of its creation, and the relationship that it sustains as a piece in the bigger geographical puzzle. He claims that one of the most important aspects of the memorial process is to preserve the “biography” of the monument –in other words the record of its coming-into-being: “...a monument becomes a point of reference amid other parts of the landscape, one node among others in a topographical matrix that orients the rememberer and creates meaning in both the land and our recollections. For like narrative, which automatically locates events in linear sequence, the memorial also brings events into some cognitive order. In this sense, any memorial marker in the landscape, no matter how alien to its surroundings, is still perceived in the midst of its geography, in some relation to the other landmarks nearby” (7). I would argue that this network of relationships must be extended to include not only the monument in relation to its physical surroundings, but also to its re-presentations and re-workings as it is portrayed in literary works. This paper will consider the relationship between monument and “biography” by examining two projects that intervene in the memorial landscape of Peru post Shining Path: Dutch artists Lika Mutal’s monument The Eye that