Monstruos, galanes, sumisos
La disputa en torno a la representación visual del trabajador nacional
Palabras clave:
trabajador nacional, cultura peronista, representación del trabajo, significante vacío, Estado de bienestar en América LatinaResumen
A lo largo del siglo veinte la figura del trabajador fue objeto de una serie de representaciones visuales, expresadas en monumentos, obras plásticas, medios gráficos, performances, etc. En Argentina, esa centralidad discursiva se tradujo en una apuesta visual normativa que apelaba a lo que el trabajador debía ser: un proletario ejemplar, idealizado, como forma de proyectar el ciudadano del futuro. Sin embargo, esas incursiones pedagógicas no siempre lograron instalarse con facilidad. En este artículo afirmo que la figura misma del trabajador funcionó como la superficie sobre la que se imprimieron muchas de las tensiones políticas y culturales de este período. Entre la normativización y la resistencia, la figura del proletariado se fue perfilando como un significante vacío: por una lado, como ansiedad de condensación, de síntesis (en términos de una autonomía que intentará ser interceptada, abordada por diversos proyectos políticos, culturales o artísticos) y, por otro, como inestabilidad de sentido, como figura que no puede concretarse.
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