Individual submitted from 20 May to 21 June at the Teatro Yuyachkani
body dead, wounded, missing seems doomed to oblivion by the widespread sense that does not support error. Mothers, daughters, wives seem to be above this order and rebel against him. The victim and his family, both vestiges of our recent collective memory, the first detainee but alive in your families and you are more alive than ever. Both actors are articulated in the sample about the texture of raw and drawing tocuyo realistic to introduce the hidden characters of our memory. Both, to be mortise and patch, bandage and wound, silent and courage.
body dead, wounded, missing seems doomed to oblivion by the widespread sense that does not support error. Mothers, daughters, wives seem to be above this order and rebel against him. The victim and his family, both vestiges of our recent collective memory, the first detainee but alive in your families and you are more alive than ever. Both actors are articulated in the sample about the texture of raw and drawing tocuyo realistic to introduce the hidden characters of our memory. Both, to be mortise and patch, bandage and wound, silent and courage.
Residence is the soul in Quechua Ayacucho. The various meanings of language allow me to believe more in this meaning in the gloomy and widespread "dead corner". Ayacucho are also mothers of ANFASEP (National Association of Relatives of Disappeared Detained and Tortured in Peru), the true abode of the soul of our people. They like all those affected by internal armed conflict against everything and everyone fighting for truth and justice, are eating and shelter, precisely, of truth and justice. Purple to gain momentum and strength against pain and indifference of the more conservative sectors of our society, major perpetuating this condition. About
works ...
Alma Purple has four large-format pieces worked by clear through the dark on raw calico, with subtle use of textures, where the material and the image complement each other and find their own way. The exhibition, arguably, is divided in two. On the one hand "The Wrestler" and "No Words", pieces that refer to the role of family in these 30 years of rejection and struggle.
"The Wrestler" as work is the starting point for all the visual and conceptual proposal of the series, and is also dedicated to mothers of ANFASEP. Are precisely the ones who in 1983, during the highest peak of violence are organized as an association, before anyone else to pray for their children, for justice and respect for DD.HH. drew up in those years, with flour costalillos given, a banner that read, TAKE IT LIVE, LIVE THE WANT. In this patch costalillos affectionately called The Wrestler. It is precisely this fragile but strong material that serves as input to create a whole series of Residence Alma. Rescuing that first precarious material, can and recursero input of which has everything in hand, to make showpiece. Costalillos Tocuyo of flour, which is precarious powerful than simple, forceful and poor calls us.
In "The fighter" are proud and happy faces of courageous women secure their rights, the protagonists.
"Without Words" is a patched calico and intervened with an excerpt from the testimony of Ms. Mendoza, founder and first president of ANFASEP.
"Lord I have no fear of death, die, I will give the five little sun that I have, for the loss of your bullet, but first tell me where my son, when you know where my son is going to die in peace." (Mother Angelica said these words alone and surrounded by soldiers who were debating whether to kill or not, while searching for his son among a number of bodies piled in a tunnel, seconds after a bullet graze the head. The indefatigable spirit and spirited almost thirty years of struggle.)
The other half consists of two parts, "Body Present I" and "Body Present II": Both represent the victim's family and the presence-absence, of pain, memory and the "trauma" in their relatives.
"Body Present I", is the image of a crucified Christ with a devil mask puneña banner reading " their human rights are a lunacy." The representation of the body of the Catholic god, referring to the body attacked by those affected by terror. The mask explores explanations background of the conflict, goes further and tries to embody the clash of cultures that our peoples have lived since the conquest. The demonization of the Indians and their culture, ethnocide had as combining ideological conquest and during the republic to the Catholic Church, whose ultimate authority said literally, a new version of colonial thought, the sentence was read at her feet . Logic almost two hundred years later is still repeating. Complete
diptych
a sack and trousers, as if being watched in the 80's in the Peruvian Andes, the absent body. Below it the phrase, "I am somewhat lifeless but breathing " the family lost but alive in memory of family members, dormant, waiting for justice, and citizenship. Complete
shows an object hanging in the center, a sort of quipu-rosary everyday objects wrapped in calico, the cohesive material of all parts, which surrounds and protects, conceals and re means that these objects become repositories of memory away at home, at work, in life.
The general sense of the soul
individual memory of the family and therefore their daily lives, unable to withdraw from the traumatic event of the violent disappearance of a loved one lives as an apparent "break" the presence and remember constant are tortuous. Many are the testimonies collected by the TRC's family say they are "like crazy" or "not the same ... and they cry all the time." Clear examples of the consequences of forgetting the power to tax from everything that means the memory of the internal armed conflict. Precisely
should look for the other "forgotten", that is the result of a process of reconstructed memory and collective work, the same that have a therapeutic dimension. Healing that goes hand in hand, indeed, with justice and reparations to those affected. After that, recently, could begin to speak, individually, from oblivion healer.
social level, the result will not be forgotten, however, the RAM will force us to start building the much talked about reconciliation. But in truth.
My third individual, this time accompanied by the season premiere of Con-way Lima Forgotten Yuyachkani, and was first and foremost tribute to the courage, bravery and courage in the thousands of relatives of disappeared persons, detained and tortured, have to spare. But it is also a claim to society and their leaders, indifference and apathy about and sabotage of the latter.
