This communication aims to analyze and reflect on how the concept of collective memory is constructed and resized through art. Violence that has arisen in Mexico since the war against drug trafficking has resulted in thousands of disappeared and hundreds of clandestine graves. Artists such as Rafael Lozano-Hemmer and his interactive installation "Level of Confidence" (2015) they have started from the use of digital technologies to enunciate and pronounce the violent social problems that have arisen in the country during the last years. So, beyond using art to represent crimes against humanity, what is at issue is to promote a collective conscience about forgetfulness, amnesia and the annihilation of the memory exercised by the State. In this sense, we will reflect on the philosophical texts of Tzvetan Todorov and Paul Ricoeur; In order to indicate how a society is involved with the violent events of its past, the way in which they affect it and the way to assimilate them. Art is then manifested as a form of meaning that goes beyond history, by representing the story that occurred, as it presents us as part of the identities of the disappeared students of the Rural Normal School "Isidro Burgos". Thus, with the process of interaction and the intercrossing of information, the users of the facility build their own space of reflection in which different political and social positions converge on this type of violent events in Mexico. Finally, to address the aesthetic fact of the piece will be based on the theory put forward by Adolfo Sanchez Vazquez on the "Aesthetics of Participation"; since the relationship between art and technology allows de-construct technically and socially the representation of the image, in order to create new visual languages as a way to reflect on the official construction of history.
