Abstract

This research is guided by an analysis of Fragmentos: Espacio de Arte y Memoria (2018) by the Colombian artist Doris Salcedo. Located in Bogotá, Colombia, this counter-monument with a floor made of melted weapons constitutes an innovative pedagogical space where it is possible to create dialogues and reflect on the effects and fractures caused by the Colombian armed conflict. By adopting key tenets of peace education and museum education, I explore how Fragmentos offers the means to address the trauma that has become a part of the everyday lives of Colombia’s citizens, and by extension, how bringing the experiences of war together provides a better understanding of how art can inspire creativity to help people heal, with the potential to significantly change society. Given the challenging times Colombia is experiencing, it is valuable to highlight the benefits that art education can bring to a society that urgently needs change and innovation, and moving towards peace education is a way to delve into the deeply traumatized consciousness of the nation. There is a need for a more complete set of analytical tools that capture the complexities of counter-monuments and shed light on the relationship between art education and peace education. This investigation was conducted through case study and arts-based research methodology, which allowed me to use my own artmaking to inform my research. In this regard, I have organized the chapters with a visual prelude to initiate the discussion, with the goal of connecting the form with the content. This has allowed me to sequence my thesis in a way that makes it possible to connect my story, through art expressions, to a broader narrative of my homeland.