During Argentina's 'Dirty War' (1976-83), the military regime attempted to erase an entire population; today the photographs of the dead/missing stand in defiance, contradicting that attempted erasure of the desaparecidos. In this essay, I explain the connection between photography and loss, and how photography fits within Lacan's understanding of the Imaginary, the Symbolic, the Real, and the 'gaze'. I discuss complicated mourning (circumstances which inhibit/delay mourning) and the difficulties created by political disappearances: as long as the family members maintain the belief that their loved one(s) might still be alive, they cannot begin the process of mourning the permanently lost object. Beginning with the Madres de Plaza de Mayo and, using the web-based art exhibits of Marcelo Brodsky and Ines Ulanovsky, I analyze the role of the photograph in Argentina, how it serves as a linking object, how it is used to symbolize the dead/missing, and how it can function to facilitate mourning, or to serve as proof of pathological melancholia. I argue that such artistic representations of loss function to reinscribe healthy mourning rituals within the Argentine society.
