Military tattoos have recently become the latest genre of war art deployed by museums to make war tangible to their visitors. These new war objects give rise to important temporal inconsistencies: as individual soldiers relate different understandings of wartime, exhibitions mediate them monolithically, reproducing a notion of wartime as exceptional, finite, and temporary. To grasp this inconsistency, this article introduces a conceptual distinction between chronic and chronological embodied temporalities of war experience. In the four exhibitions of military tattoos under analysis, different veterans locate war's end at different junctures or moments. In these experiences, the issue of war's ending is a matter of chronology. In contrast, other veterans find war to be never-ending. In this case, war is akin to a chronic condition, whose very essence is a sense of temporal lingering that puts the idea of war's ending into question. I show that sticking to univocal understanding of wartime, exhibitions of military tattoos efface chronic and chronologically discrepant war experiences, contributing to the (re)production of a war/peace(time) binary that has been repeatedly deemed to be problematic and violent.

中文翻译：

---

上墨战时：军事纹身和战争经历的时间性

军事纹身最近已成为博物馆部署的最新战争艺术流派，以使参观者能够感受到战争。这些新的战争对象引起了重要的时间不一致：当个别士兵将不同的战时理解联系起来时，展览将它们统一地调解，再现了一种特殊的、有限的和暂时的战时概念。为了把握这种不一致，本文介绍了战争经验的长期和按时间顺序体现的时间性之间的概念区别。在分析的四个军事纹身展览中，不同的退伍军人将战争的结束定位在不同的关口或时刻。在这些经历中，战争结束的问题是一个年代问题。相比之下，其他退伍军人发现战争永无止境。在这种情况下，战争类似于慢性病，其本质是一种暂时的挥之不去的感觉，使战争结束的想法受到质疑。我表明，坚持对战时的统一理解，军事纹身展览抹去了长期和时间上不一致的战争经历，有助于（重新）产生一个被反复认为是有问题和暴力的战争/和平（时间）二进制文件。