Carlos Motta

Ideological Monuments / Historical Relations is composed of 8 photographic triptychs, diptychs and single images of historical monuments photographed throughout Latin American cities. These monuments were erected to pay homage, memorialize and/or historicize political struggles in public space. This work establishes historical relations between ideologies and discourses of “conquest,” “liberation,” “ascension,” “independence,” and “oppression.” 
 
Ideological Monuments / Historical Relations # 1
(Monument to Óscar Arnulfo Romero (San Salvador)
Monument to the Nameless Guerrilla Soldier (Managua)
Monument to Justice (Tegucigalpa)) 

Ideological Monuments / Historical Relations # 2
(Allegory of the Constitution—Monument to the Revolution (San Salvador)
Monument to Simón Bolívar
El genio (Caracas)
Monument to Vasco Nuñez de Balboa (Panamá City)

Ideological Monuments / Historical Relations # 3
Ché Guevara (El Alto, Bolivia)
Catholic University of Chile (Santiago)
Monument to Sandino (Managua)

Ideological Monuments / Historical Relations # 4
Monument to Salvador Allende (Santiago)
Monument to the Constitution (San Salvador)
Monument to the Soldier (Tegucigalpa) 

Ideological Monuments / Historical Relations # 5
Bust of a Martyr (Guatemala City)
 
Ideological Monuments / Historical Relations # 6
Monument to the Workers (Managua)
Detail of a mural by Apacheta (La Paz)
Monument to Students (Panama City)

Ideological Monuments / Historical Relations # 7
Monument to General Belgrano (Buenos Aires)
Detail of a mural at Museo Nacional de Historia—Castillo de Chapultepec (Mexico City)
  
Ideological Monuments / Historical Relations # 8
Traitor—Vandalized mural depicting Hugo Chávez (Caracas)