![]() This is one example: “Murder: To take away the best of a person.” This sentence was written by a nine-year-old boy. The sixth one, Children’s Words, is a touching panel in which kids define words such as love, violence, fear, dead, displacement, and murder. It shows streets, people, activities, traffic, day, night, and the different ways of inhabiting the urban center. It is also a video in which spectators can see the city in action. The fifth space is called Medellín in Movement. ![]() People can touch the screens and navigate through information related to violence, victims, and memory (Jimena Perry, 2017). These cartographies are intended to highlight how the people from Antioquia resisted the conflict, to denounce atrocities, and to call the viewers’ attention to social mobility. The fourth, Sensitive Territories, is composed by three interactive cartographies which show the numbers of the department´s municipalities, facts of victimization that are remembered collectively, and memory sites in Medellín. ![]() It includes indigenous peoples, afrodescendants, and peasants, trying to be as inclusive as possible. ![]() The third one, called simply Medellín, is a narrative of the city’s history since 1541. It is meant to convey the pain of forced displacement. The second one, Nostalgic Landscapes, is an audiovisual projected on a wall in which one can observe Antioquia’s rural sceneries affected by the armed conflict. The first one, named Absences, opens the hall with a mirror wall in which people can read fragments of testimonies related to the sadness of losing loved ones, homes, lands, and domestic animals. The permanent exhibition of the museum is divided into 16 topics. Museo Casa de la Memoria, Medellín (Jimena Perry, 2017). Located downtown, the museum is at the Bicentenario Park and behind a traditional theatre. The first one is a temporary exhibition space, the second is where the permanent display is, and the third is a documentation center. The building in which it is housed has three stories. The museum has 378 testimonies that can be heard, viewed, and read. The house-museum ( casa museo) is conceived as part of the symbolic reparation of victims the state must pursue, as a space in which they can grieve, come together to tell their stories, and heal. According to official sources, such as the National Registry of Victims, 1,383.988 of 8,421,627 registered victims nationwide, are from the Department of Antioquia. The communes of Medellín ‒16 divided into neighborhoods and institutional areas‒ acquired a very bad reputation during this period because most forms of violence happened there. Known as one of Colombia’s most violent cities, due mainly to the drug cartel of Medellín led by Pablo Escobar, this urban area suffered severe violence (bombings, targeted killings, kidnappings, bribes, threats, and massacres) from the 1980s to the mid-1990s. Its founding was part of the Victim Assistance Program created by the city’s mayoralty in 2004. By creating a place of commemoration, contacts, and creativity in this very place, the park wishes to create a new engagement with this difficult past.In 2013, a memory museum opened in Medellín, Department of Antioquia Colombia. The place occupied by the park was precisely the place where victims were thrown in the Rio de la Plata under the dictatorship. The park hosts many other artists’ works. The monument is in permanent construction, new victims’ names are continually discovered. The Monument to the Victims of State Terrorism incorporates the memory of the painful events of the recent Argentinean past, and acts as a instrument of catharsis, as a materialization of memory. Designed as an open wound, the Parque de la Memoria tries to find an equilibrium between the presence of nature- the natural landscape-and the presence of the city with its infrastructure, recreative uses, architecture and public places.
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