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Trumper, Camilo D. Ephemeral Histories: Public Art, Politics, and the Struggle for the Streets in Chile.

Camilo D. Trumper’s Ephemeral Histories: Public Art, Politics, and the Struggle for the Streets in Chile revises and fractures the Habermasian definition of the public sphere to investigate how visual culture, the politics of gender, and the gendered nature of politics function within it. Beginning with the early 1970s, Trumper resourcefully studies the intermedia of architecture, industrial design, posters, murals, documentary film and photography produced within what he calls “everyday urbanism” (7), which shaped the political debates of the time. He closely examines their effects on Santiago’s center and periphery to explore “public spheres of political action” (16). Trumper traces the mobilization efforts of workers, artists, and activists across leftand rightwing political lines who created “new modes of political expression by taking to and taking over city streets and walls” (6). Trumper’s book is organized into five chapters, all of which reveal how politics affects aesthetics and how aesthetics impact politics. Chapter 1’s discussion of urban and political theory revolves around the changing physical site of the UNCTAD building, and charts how the multi-class use of the space shifted beginning under the socialist Allende government through the Pinochet dictatorship. A comparative gendered reading in the employment of the city’s space is offered in chapters 2 and 3, which focus on women’s movements that spilled into the streets to protest for and against socialist policies, and discuss the masculine nature of strikes around transporting goods and people that impacted Allende’s power to govern. Chapter 4 focuses on the traditionally democratic media of murals created by communist youth brigades and artists who printed posters inside and outside of an explicit political agenda. Trumper’s elaboration on the collaborative processes and quotidian materials behind the mural production is an important addition to the literature and demonstrates how they were “central vehicles for the politicization of residents” (159). The book proceeds with an examination of the role of documentary films in creating a hemispheric and uniquely Chilean cinema in Chapter 5,