Études de cas
Justice réparatrice
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Author of case study: Marcela Torres Molano
Geopolitical location of space:
Cl. 9 #5-59
Cali, Valle del Cauca
Extant? Yes
Architects:
Fray Pedro Herrera and Perez de Arroyo in charge of brick facade and interiors.
First year of construction: 1773, further modifications have been done to the building.
4 & 5 of December 2016
An act of recognition of responsibilities and dignity of memory, between ex guerrilla members and the families of 12 Valle del Cauca deputies, who were kidnaped and killed in 2002.
One TJ act took place in this space. After the Peace agreement in Cuba, the family of the victims agreed to participate in a truth clarification and memory event for their families, as part of the national transitional justice process.
This is a Catholic church building, which is designed for religious ceremonies, therefore group listening, however the space is not specifically designed for this type of event.
Ex-members of the FARC guerrilla (responsible for the crime), and the victims’ families.
This is a private building that belongs to the catholic church, however it is a building for public use. The reconciliatory event was initially intended to be public and later was established it was only going to be among the families of the victims.
Cali was one of the most affected cities during the Colombian internal conflict. The Valle del Cauca Deputies hostage crisis was the kidnapping of 12 Deputies by FARC members. The guerrilla group wanted to pressure the government to establish a prisoner exchange, as well as to negotiate the demilitarisation of two towns of this region with the intention of initiating the peace dialogues.
The Saint Francis Church was built between 1803 and 1827. The church is composed of two different structures located right next to each other, forming a brick harmonious and coherent urban complex, and the entire front of the block that faces the Plaza de San Francisco. The temple has suffered the effects of the earthquakes of 1885, 1896 and 1925, but it maintains its original appearance.
The church has a rectangular plan which is divided into three naves with a central dome in front of the main altar. The neoclassical character of its architecture is particularly evident in the composition of the facade. The interior has been criticised for its decoration, which clearly does not harmonise with the façade.
The FARC publicly apologised during a meeting in the Saint Francis Church, one block away from the building where on 11 April, 2002, a group of FARC guerrillas kidnapped 12 deputies from the Valle del Cauca Department Assembly. The victims chose the Church, located in front of the local government, because it was the space where the families of the deputies previously met and prayed for the fate of their relatives. The event was open to the public, but not to the media in order to respect the victims’ pain. It was the first public act for the reparation of the victims of the kidnapping and murder of 11 of the 12 deputies, and was carried out as part of the Peace Agreement signed with the FARC in 2016.
Father De Roux witnessed the moment when Pablo Catatumbo, during the reconciliation act, expressed: “We had them in our hands, we killed them, we are responsible. We have no justification for this. We take full responsibility. We ask for forgiveness.” In response, De Roux commented: “I witnessed the strength of children, wives and brothers when expressing their pain and defending with courage their murdered relatives; and also of the unexpected generosity with which they agreed to forgive, to free themselves from the anguish of retaliation and to contribute to the peace of this country” (Quintero, 2018).
est auteure, conférencière, chroniqueuse et podcasteuse dans les domaines de l'architecture et des arts décoratifs. Elle termine sa maîtrise en histoire de l'art à l'Université Concordia, à Montréal, et détient un baccalauréat en commerce avec une majeure en marketing de la John Molson School of Business. Elle a étudié la psychologie industrielle à Los Angeles, en Californie. Sicotte est l'auteure de deux ouvrages publiés sur le design (2015, 2018) aux éditions Cardinal.
est candidate colombienne au doctorat au Département d'histoire de l'art de l'Université Concordia. Elle a une formation en design architectural et en activisme communautaire et détient une maîtrise en bâtiment et design urbain de la Bartlett School of Architecture à Londres, en Angleterre. Ses intérêts se concentrent sur l'art socialement engagé, les mouvements sociaux, l'activisme collaboratif dans des scénarios post-conflit, l'art produit collectivement et l'art produit en relation avec le cadre bâti.
est candidat au doctorat en sciences humaines à l'Université Concordia. Ses recherches portent sur l'agentivité spatiale, l'esthétique sociale, les récits des jeunes et les représentations graphiques de la mémoire urbaine. Il a publié sur la relation entre les enfants, le jeu et l'espace public à Carthagène, en Colombie. Il a également travaillé comme éditeur sur des projets littéraires, dont Territorio Fértil, qui a reçu le prix María Nelly Murillo Hinestroza pour la littérature afro-colombienne.
est professeure agrégé et Chaire de recherche du Canada en architectures de justice spatiale (niveau 2) à l'École d'architecture Peter Guo-hua Fu de l'Université McGill, Montréal, Québec, Canada. Ses intérêts de recherche comprennent le logement à loyer modique et le design participatif, la protestation civile et le design urbain, ainsi que les paysages des campus et la race. Ses publications incluent le livre co-édité, Orienting Istanbul (2010) et le livre (auteure unique), Istanbul Open City (2018).
est artiste et professeure d'histoire de l'art à l'Université Concordia. Ses travaux portent sur les femmes et l'histoire du cadre bâti, les paysages urbains, la recherche-création et l'histoire orale. Elle a publié sur l'histoire spatiale du mouvement pour le suffrage des femmes, l'art public, les jardins et les politiques du changement urbain. En plus de ses recherches sur les espaces de justice réparatrice et transitionnelle, elle dirige un projet d'histoire orale sur les mémoires urbaines des montréalais et montréalaises.
est un ancien titulaire de la Chaire de recherche du Canada en interprétation de l'histoire orale (2016-2021). Il est professeur agrégé au Département de théâtre de l'Université Concordia et codirecteur du Centre d’histoire orale et de récits numérisés (CHORN) de Concordia. Sa subvention de la Fondation canadienne pour l'innovation en infrastructure lui a permis de créer le Laboratoire d'écoute active (ALLab) en 2018. Basé au CHORN, l'ALLab est un centre de recherche-création de premier plan pour le pouvoir transformateur de l'écoute.
