Art, Body, Politics and Violence in Colombia1996 2006
In the ninety really the performance actions within the national scope in Colombia were innumerable, artists like Collective Matracas, the group To Clone, Raul Naranjo, Poul Arias, Maria Jose Arjona, Rosemberg Sandoval, Yury forero, Leonardo Herrera, the Collective House Guillermo, Fernando Pertuz, the French artist Pierre Pinocelli, and the Colombian philosopher Pabón Consuelo, worked deeply on their bodies; transforming them, hurting them, mutilating them, and molding its meat or the mind of those who we saw them and we felt; all a series of performance which they tried to leave testimony of the barbarism that happened in our territory and the world, many registered in his actions the massacres, others narrated them and others lived them… All expressing the feelings of pain and limit by which we were happening internally and the terror that our surroundings surround from back..
Beginning this text they appear the following questions that I hope we pruned to solve.
So that to make Social and Political Art?
So that to make performance?
So that you create that you are important to speak of the body and from the body?
One of the first performance that I saw. at the beginning of the ninety and I hit to me was of Collective Matracas, a group of young people and youngsters who shaved their heads and later with tape tempered on their bodies were deforming their faces and their identities becoming perhaps those mutilated bodies and without identities that to newspaper find the authorities. That day I included/understood the impact force that tapeworm the present body in the assistants, no longer was imagining the life, but we were before the presentation of life facts; that inevitably they touched the internal fibers but of those who we saw them.
When I left there I discovered like I hit me group, strength of his women shaving his beautiful hair and of how the absence of this symbol towards which their sexes were confused like their identities, no longer was young and youngsters, but beings transformed by external agents, and when their faces began to disappear and their arms changed of forms, and their chests were squashed; they began to make feel in my body the agony and the despair of the lost one of freedom, the impotence, the fragility of the human being, even to forces so small, but so injurious us the alive beings.
The body like means, tool, and the life as it builds.
A metallic structure as of slaughter maintains enormous plastic bags like when one sees a hung head of cattle. The breath of their occupants to turned these bags cockpits where the steam lets see parts of its bodies and other no, is frightful objects where the passage of time marks in the presents a state of sinking and grief; bodies in bags and hung that not has left to appear from time of terror which our old lived, that could go back previous to the conquest, are brought to the memory by the Group To Clone.
To us I am called on to see to us us framed within the violence and the drug trafficking where the young people of the districts killed themselves with the neighbors, and where to be killer it was the only option for the survival in the communes, in center or in you yourself home, they had the value of placing before our eyes that corpse image of children, young people and adults that has been massacreed not only in Colombia, but in all the corners where the tolerance and the dialogue do not exist and where the differences with the arms are solved.
Works since this makes think about the brutality of the violators and the indifference of a society that has allowed that few violate their rights like citizens and alive beings.
The group To Clone appears later in the Festival of Performance of Cali - Colombia within metal pieces , coffins with small windows where parts of their naked bodies were let see, they remained several hours there and later she appeared people and I take them, again the died, catched bodies, moored, dismantling, appear perhaps as memory, but mainly like critic to a system, a community and we ourself to allow as lamentable facts as the banana tree culture massacres, financed by foreign companies that took control of great territories for the banana tree culture implanting the terror in the zones, thus to lower to the prices of earth, creating displacements massive to the cities and therefore the DES balance in the regional, local and national markets.
The young artists jeopardize with their time decide to express the in discord not only of them but the sadness, the remorse and the pain a town that has come being exploded, being manipulated, being attacked, being disappeared and silenced… then they appear these proposals where the art and the artist become an average one to question, to criticize, to reflect, to revolutionize and to construct a society in via of extinction.
Art and life in the limit of the unspeakable thing, in the limit of the pain, the limit of the life, the end point where the only thing that is to save is the life, where the only thing where there is to investigate is from the life. In order to construct to perhaps another truth, another reality that allows the man to live in harmony, that allows that the art and the life really are one single one and everyone sees the importance that it has in the construction of a morning where the images of the violence are part of history.
One of the first performance which I saw of Raul Naranjo was a perfectly welded metal device, a corporal sculpture that was reconciled to its chest and back, a frame for the war, like the old gladiators or the arms of the Romans, arranged to an expensive combat to face with the death. Its body was naked of the waist for above, was arranged east frame there, of a little while to another one connects metallic member in its waist; extension equipped and articulated with the frame and a metallic striker pin that goes to its back. Performer taking a woman dummy and begins to violate it with his metallic member, whenever it makes the action introduce it in the woman, the extension activates and the striker pin nails in the back of the artist whom little to little it bled… he was really impressive, frightful, Raul one was hurting, it made blue its back, showing to us the brutality of the man, indifference of the society, confronting to everyone before its animal, its beast. The reactions did not occur to hope and is wonderful… as the presents to the actions of Raul hurry in char it on good and the bad thing of the human attitudes, people question the barbarisms of rapists and assassins, open a space vetoed for the communitarian discussion.
In another one of its actions it makes a metal piece, like a skirt, a pyramid truncated by where the artist removes his head, Raul enters within this sculpture that is of its exact size, being with his head outside. By the flanks of this metallic piece it has arranged steps by where a naked woman raises, being above she opens his legs and she begins to tinkle on performer, his continuous one and abundant flow of tinkles surprises the presents, after minutes, she descends, it goes away and Naranjo leaves its cell or prison that retained it.
These actions give to speak of the man and the woman, they give the opportunity to think us on the manipulations that the bodies exert in the others, as well as the game of feelings and sensations in which they are involved the pairs or the relations of being able between and others. In a society repressed by political thoughts, religious, moral and by a relation, consumer society that sells “perfect” bodies dominated by the forms and the reproductive organs, relation or rather battles freed by sexes, the appearance, the triviality of bodies that externally seem new and inner are destroyed; we see in these works an interest in questioning all these relations and to face the man - animal with the man - reason, we see in these proposals bodies attacked, done violence to, attacked, catching, the body of the man and the woman time and time again in its position of judge and court at the same time, locked up fragile bodies after that metal weapon who intimidates and rather he protects, tools and shells that we used to disappear itself, to give another more ferocious appearance in the middle of a society where the survival is at the cost of everything.
The pieces of Naranjo are terror and torture apparatuses overcoming to us to innumerable objects that the man has invented to intimidate with external forces, to scare and to create in his subalter a sensation of fear and repression to us exerting the power and control. Their machines and their bodies also show that defenseless and fragile human being first of all, Raul creates an atmosphere where the man or the weak and unprotected woman looks for forms and attitudes of terror that allow but that to attack, to defend its body and its feelings, showing so much men and women at different moments and different rolls for being able between they themselves.
Arms and strategies appear to newspaper within the call familiar violence, battlefields where men and women, men and men or women and women maintain their relations to start off of sentimental fights, emotional and physical where the involved, attacked bodies are seen newspaper and sometimes disappeared. Wars where one becomes the interior and the outside of the bodies, fights that mistreat the social relations of pair, relatives and therefore, encounter that have debilitated the supposed social nucleus…
Bodies transformed by a consumer society, bodies catched by its sexes, bodies without hopes and identities, bodies empty.
Pool Arias, kneels down before a full water bucket, introduces its distressing head there and begins a route pushing the bucket of end of the enclosure, when arriving at the other side, with very little I possibly oxygenate, it removes its head and it takes a new whiff from air and immediately it submerges again its head in the water and begins to again push the bucket another end of the room. After several similar routes, almost without air it tries to stop itself and with the forces that has left is sent it by the window of the place, destroying with its body the glasses and to disappear by the streets without leaving sign.
The performance has in the presents that activate their receiving organs, ignites them to such point that your physical and chemical reactions are not made hope, in this wide-awake Pool action in all a feeling of fear, hopelessness, pride, pain, our adrenalin begins to feel and the beats of the heart are shaken to size that one sees its body debilitated by the lack of I oxygenate, gives a horrible sensation us because we know you limit them of our bodies and of our minds and already when it seems that it is the last time that removes its head, takes the decision to run to a window and to send itself that way, all the presents we shouted and we left running to look for the hurt body, the died body, the physical body… but Poul no longer was, had disappeared by the streets of the city and it had left us with a common sensation… let us hope that this good…
In another one of its actions, in this occasion works that made next to Leonardo Herrera, where their faces at an impressive speed shave, without cares, nor cut repairs causing in their face multiple which they are mixed with the cream to shave.
The artist made blue its bodies, attacking itself physically and psychological, perhaps symbols of a society that it is destroyed to itself or surroundings in the middle of the violence where we see as friends and relatives killed themselves, we could perhaps be sent to innumerable acts of torture through whom they pass the kidnapped ones, or to the countless national and international news where the man it attacks of brutal way the body of the other and lets in the streets of towns and cities to it hoping extend the fear in their inhabitants. Innumerable they are the cases of victims to who they have cut its face to them, to avoid its recognition, faces of a place desolated, lowered, manipulated.
There in those bodies we found the marks that the time leaves, corporal topographies where the wound and the tracks of the past leave their mark that one does not forget..
I ask myself so that it has one to attack itself, of where remove to the value these artists and so that they do it… and perhaps can appear an answer in the events that we will call limit where the man looks for to solve his restlessness or perhaps to wake up in the present sensations that would not appear but in end points where we know perfectly that we are before edges where everything can happen or finish.
The artist historically fulfilling with his to occur and its surroundings sends itself before a world that needs to investigate on the reactions of the others, on his emotions and their feelings, becoming a corporal and sensorial scientist, proposing new exercises which they wake up to the people of the silence, which they again activate desire by the life leaving to see his fragility, becoming that work body not only, in sculpture, but mainly in representative of a community that it has to demand the injustice and the indifference by average plastics… so that they do not kill its people.
The artist raising propose where the corporal action is developed inside the sleepy presents, molding, sensations and feelings.
It suddenly appears before us an immense plastic stock market that contains a naked body that during hours lies mouth down, the body of this woman remains there waking up in the diverse assistants questions, people do not know if really this dead or if this alive one, or that step or that wants to communicate and between great and small diverse proposals are made that converge in images that are in the unconscious group of societies where the terror apparatuses are the dead bodies.
Colombia has an ample history of murders in mass, for example in the liberal and preservative violence where they made the cut of t-shirt, murders in series where the bodies were cut, its cut throats and their extracted languages, true objects of terror which still they continue appearing and thickening the n lists which they have been impossible to recognize.
Bodies of women and children, kidnapped, abused, done violence to and assassinated in all the corners of the world, at all the times of the humanity or perhaps of the animal.
This sends to repressed and ill beings whose exercise is to attack miserable and cowardly to defenseless women to obtain its bodies. Irrational beings who are lost perhaps the possibility of loving.
The value of the artist Maria Jose Arjona to make reflect to all a community that shut up even accept abuses within its own homes where adoptive father, uncles and others, violates to small and defenseless and their families to the knowledge it hide the facts to avoid the one that will say or the legal annoyances that it can carry this for the girl, allowing a domestic, quiet violence where many boys suffered by the indifference of their homes enter to comprise of groups to the margin of the law, assassins or simply want to be able to turn around to kill their violators.
Another battle Maria Jose Arjona it conducts dressed in a long velvet suit, with a pronounced decollete, a beautiful woman who kneels down and places of the necklace of her neck a chain that goes to the superior part of the enclosure and falls soon within a tube is transparent maintaining an apple to its end, to few centimeters on a red liquid. She covers her eyes and begins to be placed labial, soon inclines towards a mirror and she kisses it, with a fast movement she returns to be made kneel and she is when the chain raises quickly and low allowing that the apple between in the liquid and jumps this by all sides. Time and time again it returns to place labial in his mouth that is disappearing in the middle of a great red spot and the mirror is crouched and kissed, again his body raises quickly and the apple returns to fall within I eliminate red that as it bleeds splashes throughout.
The catched, chained woman, moored, the woman victim of the consumer society that demands a position, an attitude, the enslaved woman to him of the labial, the mirror and the blood, made kneel, submissive like many of the mothers, accepting degrading situations before its home or a use or the society that the contempt during decades.
Women who transform their hair, their lips, their eyes, their sines, to satisfy men or to professions who apparently demand it, subject bodies to the winding bistoury and the postoperating one to be accepted by others completely leaving to a side the feelings, the respect, the moral, the good person that you are, the beautiful thing of your smile, the rich thing of your hugs; empty perfect bodies on the inside.
Arjona with this performance sends to the bodies victims of its enchantments and of his vanity, slaves to us of hair products and beauty, immersed in the gymnasium, the massages, the camera of bronzed and whichever operation, it wraps and product appears. Feeding warehouses in chain, gymnasiums, spas and without number of commercial programs or where by television and radio products are offered single to think about the horrible thing that they are our bodies or ugly that we are, or the old thing that we are becoming, without at least allowing to accept our bodies, our stuffed forms and their gorgeous differences.
This redefining itself like its rolls to the aesthetic surgeries this creating a new civilization new generation, beings, the abuse, the body clones beautiful or famous with extensions and new sexes, we are even constructing a new race where single certain stereotypes work in certain works or personages, demanding to actors, models or prostitute to be operating or stretching the skin to maintain appearances, thousands of mothers who do not give sine to their children so that the sines are not even damaged to them and other that do not wish to have them not to damage their body… while other so many pairs do until the impossible thing to be embarrassed.
A new world where we know neither to the true identity del that this alongside, nor its past, nor its present, nor its future.
A man dressed barefoot target and enters loading his shoulders a boy who deposits in a corner, later takes a handkerchief to which he applies alcohol to him and he begins to clean the arms, hands and face of this boy… soon Rosemberg Sandoval with hammer and finishing nail places in the wall the handkerchief and it pledges fire to him.
Bodies of women and children, kidnapped, abused, done violence to and assassinated in all the corners of the world, at all the times of the humanity or perhaps of the animal.
This sends to repressed and ill beings whose exercise is to attack miserable and cowardly to defenseless women to obtain its bodies. Irrational beings who are lost perhaps the possibility of loving.
The value of the artist Maria Jose Arjona to make reflect to all a community that shut up even accept abuses within its own homes where adoptive father, uncles and others, violates to small and defenseless and their families to the knowledge it hide the facts to avoid the one that will say or the legal annoyances that it can carry this for the girl, allowing a domestic, quiet violence where many boys suffered by the indifference of their homes enter to comprise of groups to the margin of the law, assassins or simply want to be able to turn around to kill their violators.
Another battle Maria Jose Arjona it conducts dressed in a long velvet suit, with a pronounced decollete, a beautiful woman who kneels down and places of the necklace of her neck a chain that goes to the superior part of the enclosure and falls soon within a tube is transparent maintaining an apple to its end, to few centimeters on a red liquid. She covers her eyes and begins to be placed labial, soon inclines towards a mirror and she kisses it, with a fast movement she returns to be made kneel and she is when the chain raises quickly and low allowing that the apple between in the liquid and jumps this by all sides. Time and time again it returns to place labial in his mouth that is disappearing in the middle of a great red spot and the mirror is crouched and kissed, again his body raises quickly and the apple returns to fall within I eliminate red that as it bleeds splashes throughout.
The catched, chained woman, moored, the woman victim of the consumer society that demands a position, an attitude, the enslaved woman to him of the labial, the mirror and the blood, made kneel, submissive like many of the mothers, accepting degrading situations before its home or a use or the society that the contempt during decades.
Women who transform their hair, their lips, their eyes, their sines, to satisfy men or to professions who apparently demand it, subject bodies to the winding bistoury and the postoperating one to be accepted by others completely leaving to a side the feelings, the respect, the moral, the good person that you are, the beautiful thing of your smile, the rich thing of your hugs; empty perfect bodies on the inside.
Arjona with this performance sends to the bodies victims of its enchantments and of his vanity, slaves to us of hair products and beauty, immersed in the gymnasium, the massages, the camera of bronzed and whichever operation, it wraps and product appears. Feeding warehouses in chain, gymnasiums, spas and without number of commercial programs or where by television and radio products are offered single to think about the horrible thing that they are our bodies or ugly that we are, or the old thing that we are becoming, without at least allowing to accept our bodies, our stuffed forms and their gorgeous differences.
This redefining itself like its rolls to the aesthetic surgeries this creating a new civilization new generation, beings, the abuse, the body clones beautiful or famous with extensions and new sexes, we are even constructing a new race where single certain stereotypes work in certain works or personages, demanding to actors, models or prostitute to be operating or stretching the skin to maintain appearances, thousands of mothers who do not give sine to their children so that the sines are not even damaged to them and other that do not wish to have them not to damage their body… while other so many pairs do until the impossible thing to be embarrassed.
A new world where we know neither to the true identity del that this alongside, nor its past, nor its present, nor its future.
A man dressed barefoot target and enters loading his shoulders a boy who deposits in a corner, later takes a handkerchief to which he applies alcohol to him and he begins to clean the arms, hands and face of this boy… soon Rosemberg Sandoval with hammer and finishing nail places in the wall the handkerchief and it pledges fire to him.
Rosemberg goes to the place where these beings commit suicide to newspaper consuming drugs and it load in their shoulders taking it to the clean galleries, white and immaculate and he scrub them, perhaps demonstrating to us there as the same society produces that dirt and the indifferent one, the rejected body, the rejected body becomes, the body under the dirt where all are similar and where all are camouflaged to live in the cement forest .
Another Sandoval battle dress of target with many red flowers in its arms also conducts, goes to a corner where there is a small object to seat and there it begins to pass its hands of side to side of the roses clearing petals, leaves and thorns and falling all this between its legs, it takes again other little from roses and it returns to pass its hands, finally we are seeing the drops of blood that are falling little to little on their clothes and on the white surface that the one registers in its spots that step .
Extreme actions with extreme bodies, corporal and mental sensations that the artist generates by means of the same life, unique actions, destroyed bodies or to destroy, propose where it stops to speak of the life do from she herself, works which they do not try to demonstrate, nor to represent, but performance where really the limits of the art and the life are overcome to be one single one.
Realities that are it has, in our day to day and which we cannot forget, propose that they are mirror of a reality that we try to deny, Rosemberg directly questions all an apathetic community and before our eyes puts the finger in the sore, hurting our senses and feelings to find in deep of us that alive being who has died.
A man dressed black, approaches us to give us the condolence, to say whatever to us feels it, approaches each assistant to say to him the same, to some even gives a hug them, his languid, sad face and lost he leaves in silence all which he approaches.
In a so dangerous community in where we found that almost all the families are lost relatives in violent facts and really all would deserve that condolence that Jurisdictional Yury this giving all the presents, a collective and social condolence, to refresh the memories by thousands and thousand of people died by the state, the paramilitary groups or the guerrillas, who what less they do it is to protect to the civil populace leaving it in the middle of the bullets and all the groups, being indicated by like assistants of the others and vice versa, assassinating whole populations that were buried in the middle of the war.
In another performance, Jurisdictional Yury assumes the corporal attitude of the pressed personage and with its position of thirsty and desperate man it begins to ask a for a little help, the people later to introduce the money that gathers in a strong box that it pushes with difficulty by the streets, this action can speak to us of the avaricious one, but on everything of the needed one, it is a performance that wakes up in the presents desires to help another one.Continuously we see in the streets of the great cities tens of people stretching its hands by a currency or the surpluses that hurl to them.
Bodies that by the shortage of resources are changing their factions, bodies that have been become to measurement that the poverty increases, as displaced people arrive at the cities, and by lack of studies and opportunities they are forced to ask for alms not to see die to his children, beings who in the middle of the sweat and the dirt try to sell a poem or a candy in a bus, in exchange for which you wish to give them
In both actions Jurisdictional it interacts directly with the spectator off guard, the passer-by, its actions are nourished of the answer of the people and its interest is to question itself and to question to us on the social and economic condition of the human being, problems that affect it and they kill it
For another action, Yury begins to remove from an archivist a series of you exceed that they contain ashes and in center deposits of the space creating a knoll, goes to the archivist, removes on and reads… ashes of house attacked by the guerrilla, ashes of the gentleman died by assassins in the door of its house, ashes of the attack in Cali, ashes of explosion in Bogotá - Colombia…
Its performance can send to those died bodies, to those truncated dreams, those atrocities that the irregular war allows and that touches to the doors of your house, Jurisdictional it allows to open a space to honor our victims but also to detest the brutality from which they try to take the power by the arms and the death.
Yury with its attitude and its voice creates a space in memory of those bodies that are not, as well as of as much missing and as much victim whom the violence leaves us.
Faces that leave tracks, faces that wake up compassion, destroyed faces, faces that are mirror of a daily life and an internal feeling
We were waiting for some action when two people suddenly begin to discuss and they are pushed, both automatically unholster its arms and they remain scoring in silence by several minutes this performance of Leonardo Herrera like in whom it has a combat of boxing with another person where in a matter of five rounds tremendous blows with another one occur, show a being who continuously is exposed to diverse situations that attempt against their body and which they imply immediate reactions, defense attitudes and initial positions that the bodies generate like protection reaction.
The beings exposed at every moment to facts where they are moderate by the force or by the arms and where the differences measure to blows or destroying the enemy, all this surely fed by the amount of series of violent canning where they invade to others or where the arms abound and the films become continuous shootings where there are no dialogues, nor lessons
In another occasion Leonardo seated Herrera this in the floor with disposable trousers of surgeon and from his throat extends an immense rod like of five meters that the entrance of the enclosure crosses.
The assistants are when entering with this obstacle and with difficulty they pass its legs to enter and to be with Leonardo in the floor and an end sharpened in its throat; any person could run the rod and with this to nail it in the neck of the artist.
It is as if Herrera wanted to place in our hands its life and with it to demonstrate us to all which each step that we give can affect to the one of the side.
Its body is the one who receives and that it gives, its body is threatened and threatens, its fragile body is exposed to the destiny, Leonardo resorts to its body and not to the one of another one, its meat is cut or struck, their actions allow to speak us of the weak thing which he is the human being and of an amount of events that attempt against the same life where the death this present in each corner hoping to anyone of us.
Bodies in the limit of the life, where the only thing that is had is the life and where what it is to save it is the same life.
The art and the violence appear at moments where with words we cannot express nor the pain, nor the fear. Where the artist makes a shout in silence to protect, to denounce or to sanction the social injustices and perhaps to propose or to open spaces where she engages in a dialog herself on solutions. Works of life, since the works are fruit of the life.
The Group House Guillermo conducts a battle where five members of the group are entering one by one stretchers to the enclosure with surgery suits and there a nurse injects to each one and being finished the liquid of stock-market, the nurse removes to one by one in his stretchers.
This battle is conducted had to that the place where was exposed found with barricades, since they feared that a group to the margin of the law took the town, the presents were watching paintings and photographies in the inauguration of the sample and they never had been present at a performance; for many the surprise was great when they began to enter the stretchers, thought that the guerrilla had taken the town and did not lack the shouts, the weeping, and the questions. Little by little people were calming while the five to performer administered feeding to them by intravenous route.
For another action they make the route from Buga to Cali, highway where they came happening several massive kidnappings; during two days they walk, they arrive and they mount carp in Cali where they show the route of the long walk, trying to retake the lost territories by the violence. There is as great amount of displaced washes their clothes and cooks with the difficulties that this implies. As people approach the carp they give flowers in origami done with the newspaper leaves that show the news on the war of guerrillas and the instability of the zone.
The massive displacement to the cities causes of the massacres in the countryside; the violence in the massive highways and kidnappings that the city of Cali has lived, motivates to the Group House Guillermo to work actively in proposals which they sensitize and they give the opportunity to open spaces to the dialogue and the communication between the affected community, creating reactions that protect and prevent situations that attempt against La Paz and tranquillity of the community.
The artist, the doctor, and all a series of professionals whom they have to move of his places from origin to the great cities or other countries by lack of work and opportunities, that also are generated by the great slaughters, by the intimidation that attempts against its bodies and their lives, thousands and thousands of people leave the fields by which they are full of mines bankruptcy legs, reason for which cannot cultivate and their children cannot run, extensive zones of the national territory desolated, territories with towns ghost and tracks of bullet and mortar in its walls. Whole populations assassinated in churches or schools, taking shelter of the cylinders pump, or bazooka. That not yet we know as so great arms arrive at illegal hands. Children, young people and adults growing with images and cause that never erased, destroyed, separated families, young without parents and parents without children.
The Group House Guillermo takes the city and by two months they leave and they performan in times of the night placing warnings in its walls with the question So that it has not gone away to Miami?. Within a black arrow of double via. 
To both months they begin to distribute steering wheels with the same question but they add electronic mail and telephone, following the four months calls and post office of diverse people are received who think and ask around this question. They want to remove its visa, others call to say so that they remain in Colombia; so that they would never go away; in aim without I number of answers that let see what the people of Miami think and what they long for ours in other earth. Than to go away more to Miami, it is so that the young people work in their countries with few opportunities but with many hopes .
Attacked bodies and territories, hidden, scared bodies and towns, whole families moved, disappeared communities, populations that flee from a side for another one without earth, home, destiny. 
The French artist Pierre Pinocelli arrives at Colombia with the intention to speak with the group that she has kidnapped to Ingrid Betancourt and to request his liberation. After several commentaries on the insecurity of the country for a foreigner, it decides to do, a finger for Ingrid. 
As soon as nobody renders to him aid to approach these groups makes an action where it appears with a black shelter and a death face that takes off being with another expression of the death in its face and with a dress of many colors walks with a cage and releases the dove that there is inside 
Later the suit of colors takes off and the other chewed of the death, being with a t-shirt where it says to Ingrid Betancourt and a poster with the photo in the day of his kidnapping. After a brief route by the outside of the place, it enters the enclosure where it is placed a white shirt and trousers. 
One approaches a wood trunk, takes an axe and it is arranged to drop it on one of its fingers that separate quickly of their hand. Pinochelli gathers its finger, introduces it in the mouth, trying to pass it suffocates and it gives back it, while the CRAF writes. Soon it introduces its finger in a bottle pronouncing the following words… I came to release to Ingrid and since I could not, I make this putting record of the massacres, mutilations and the barbarism of this country.
We have described a series of works that hardly can be in the forgetfulness like what they question. Without number of reactions they were seen in each one of them, activating in it presents/displays sensations and feelings that probably give the opportunity us to think about which our societies have done and in the construction of a possible way that takes to our communities to a better destiny, allowing than each one of us we dream about being the great artists to paint the world of another color where the respect, the tolerance, the love and the peace are the central axis of the life.
Like many artists also we found the fortune to know the work and the thought the Colombian Philosopher Pabón Consuelo that has made diverse to char them performance and who to assumed the laborious task of giving a conceptual frame him to the performance in Colombia and thus to help to digest the different proposals that from the body and its relation with the art and the philosophy they try to create Fabletions acts that invent a town that does not exist.
Pabón to made one of the most important reviews of performance in Colombia, supported by the Ministry of Culture, investigated, it wrote and I cure the travelling samples that are part of Acts of Fabletions, one of the investigations of the Pentagonal Project, where we found a the job of the great majority of artists who from the body take a plastic and social investigation.
The Double is a performance of Pabón Consolation where it exposes the relation to us between the tragedy that spoke Nietzsche and the one that lives our populations, in a heroic act, Consolation assumes its responsibility with the same life giving a shout of pain by the murder you lead them of an organization who defended the human rights in Colombia and by thousands of victims of the violence. It projects images of them, his funeral and the posthumous tribute that was done to them, while this rocking itself in a swing after a veil, reads its annotations, their memories and their pain. The image of a being who gathers deads to take them to the other world appears in the room running behind a girl during all the action.
The relation of the pain, the tragedy, the thought, the society, the policy, the philosophy, the body, the art and the present time are determining in the reflections of Pabón, their investigation like their teachers Deleuze and Leotard are taken to a practice to understand more close by the problematic ones who they disturb at the moment to the bodies.
She also this writing the theory and the aesthetic one of our time, knowing and analyzing the work of all the artists of the body, listening that motivates them, to do what they make later to theorize and to illuminate the way of all those that we create in the power and the possibilities which they have the artists and their works of art in the change of thought and attitudes that contribute more good to the search of a world.
Its action Tomorrow I will bring fresher flowers, relates urban space, corporal space, mental space, social space, spiritual space in a proposal first reunites to the affected ones by a pump in a district of Medellín to participate in a ceremony, ritual and memorial in the street where time back they were affected, proposing the population to clean to him the past by means of artistic facts. Pabón next to a group of artists and neighbors of Medellín makes a series of performance in this street, opening a space to remember the beautiful beings who went away and to reject the terrorism of the sector, where the civil populace I am left in means of the commando of police and the violence.
Reuniting to a series of corporal sensations and a great amount of Pabón thoughts it makes by last an installation where immense drawing in mineral territories of several colors is the one who reunites to spectators and performance in an integrated space where all end up realizing that are part of the action and spectators to the time.
The chaman sound and songs shelter the place while amorphous bodies, catched bodies, bodies of mourning leave slowly and with difficulty they cross the space appearing in an immense drop curtain where it is mixed in direct what this passing with images of the preparation and the action in the street of Medellín; the bottom the strong and sharp words are listened to that judge, sanction and detest the violent acts that attempt against the humanity.
The word, the thought and the feelings are reunited by Consolation in char them, dialogues with she herself and the others where we asked ourselves and we analyzed that she is what this happening with the humanity. She makes a call of alert to a community that she has to act, that she has to participate with attitudes and proposals that allow a better morning.
The art and the violence such have a great number of works from beginnings of the humanity. Their men and women worried about events that attempt against the community look for by many means to arrive at a great number of people being affected their reality to precipitate in them reactions that to men and women allow to superlive. The instruments are varied, the infinite colors, the countless forms, and the multiple representations, all of them reunited at their historical moment to leave to certainty of the deaths or the injustice, but mainly so that each one becomes aware from which does and of how this affects us to all.
We were with a young person whom it invites to us to approach us him that one is seated to side of a table with a plate, a glass, a knife and slices of bread. When we are close, Pertuz for, places the plate in the ground, lowers its trousers, defecate in the plate, tinkles in the glass and it feels to eat it to it with bread.
In times when the life is in its decline the art and the artist are united to formulate and to reframe those limits of the same life being exceeded the ideals, aesthetic and the verse to let arise the ethical and necessary reasons for the humanity.
Indifference is the sharp test of the blindness of a town that it does not perceive to the one of alongside, even though is occurring a shout in silence and of aid.
Indifference is a call of alert of the man by the man, is an alarm to a community that lost the respect, the pity, that we see people eat excrement without doing nothing and whose sensations were crystallized by lack of hopes.
If in my position two fit, fit three, reflects on the problematic one of the children embarrassed within educative institutions. Fernando Pertuz assumes the roll of the pregnant children being placed a prothesis of belly and the uniform of school girl. This personage crosses the environs of schools giving flying where are the rights of the boy, some laws that they protect to the small ones and they condemn the abortion, as well as diverse directions of places that lend attendance to the pregnant women. During the action the rights of the boy are written in one of the walls of the school. This action also reflects on the pregnant condition of that must assume the man and his responsibility of pair and father.
What Flag street expression that alludes to what ticket, what suffers, what bear. Pertuz gives present to the thread, needle, as well as three fabric pieces, one yellow, one blue and one red one. People automatically arrange themselves to sew them and to sew them among them and to sew them between all, constructing a great flag.
The excuse to sew these pieces and to unite them later to make a great flag, opens the possibility to that the word comprises fundamental of the work being the mind the moldable and plastic material, each one giving its point of view of how the country is due to reconstruct. The sewn pieces of diverse great and young ways by, by the shining side others by the opaque side, each one sewing to their way demonstrate the diversity of the people who conform our Colombia that when uniting makes them think that the differences in race, religion and thought must be accepted in the reconstruction of the communities, about this case the Colombian; but sewing the flag can be done with the one of any country of the world.
The Weeping one is a performance proposal where Pertuz is sent to this myth where a mother looks for her son, Fernando Pertuz involves to women home head which they live to wash clothes to other people, to arrive moved to the cities. They conduct the battle to wash to a day three hundred meters of flag of Colombia, being contracted and remunerated like any domestic employee, allowing they to be average example and of expression of so many experiences of life that are repeated to newspaper, where the women suffer by their children who go the war and other so many do not want them to have so that they kill them.
Here the cleaning of a flag is another excuse that allows as symbol to reframe the destiny. “It is not to wash the flag, is to wash the conscience of all we” said one of the presents in the seat of Bolivar .
In the city she appears a young mutilated military man, one of its inferior members not this, is maintained of muletas, extensions that help him to be transported, this military man this gathering companies to make a law that eliminates the use of the arms, collecting names of people who are against the violent war and other facts. Their sad face and its attitude desolate shake to the presents that its step are are sent to give a support hug. Many are the people who feel it jeopardize with the cause of this soldier and they approach to sign not only by him, but by a society that needs another solution to solve the conflicts, different from the bullets.
Fernando Pertuz sends to us with this performance to the bodies of many young people dismantled in a war that nor they themselves understands; increasing this with another amount of small that playing in their grass has been with left warlike objects or that never exploded and accidentally they drive them leaving disabled them of by life, without its arms or their legs and with very few economic possibilities or state aids for a recovery that is slow and expensive.
The performance of Pertuz the death Round throughout allows to present a space for the citizen expression, for a collective performance and so that people speak of a so delicate subject that single she is allowed by this means where the anonymity and the distance contribute so that people denounce and leave to certainty of the barbarism exerted by he himself man and his anxiety of being able.
The universal symbol of the death breaks the day and day discovering diverse reactions of the towns and the myths that tile with their presence, the present death in each corner, of the daily life of many young people and threatened adults and afraid that walks by their districts hoping to that they kill them.
The page http://www.listadepersonas.org/ it reunites names of people died in violent facts of diverse countries, allowing to demonstrate to the world the been mistaken thing that there are been and giving the opportunity to many families and to a community of a world-wide mourning, or that at least appears the name of its being loved in some place, leaving testimony of its existence and of the cruelty whereupon they killed it or they disappeared, allowing that this space does not leave in the forgetfulness to thousands of people who have given their life by the freedom, the peace, justice and which they died or they disappeared like heroes of a planet that remembered them.
Making this route from 1996 to the 2007, in one decade, we see like a great amount of artists, thinkers and civil populace has been itself affected, leaving registry in their writings, their works and their daily life what happens; we hoped that these lines to where they arrive serve so that the human beings recall to mind, acting quickly, creating solutions that allow that we coexist black with targets, liberal with conservatives, Americans with Iraqians, catholics with Buddhist, leaving to a side its differences and concentrating all in like protecting, educating and to guide a new race whose central axis is the alive beings and the violence it is part of the past.
Cr 2007 - PAS - Performance Art and Society
