ABSTRACT
This chapter surveys the recent use of street projections by South American activists in contexts of political disputes for social memory, with a special focus on the social unrest that took place in Peru in November 2020 and its aftermath. Two points are the focus of attention. First, the properties of projections as a media form and their inextricable ephemerality in comparison with other media. Second, the employment of social media platforms as a strategy for storing, curating, and indexing the images of these projections, constructing what I call “spreadable archives.” The chapter concludes with a reflection on how these projections and their archiving could be catalogued as documentary practices – although, perhaps, not in a traditional sense.
