In Carabela this document, by others spread and idealized, is disarmed and rearmed (disassembled and reassembled, in the words of Didi-Huberman). The images of the sea and the caravel are framed by texts in this work fragments of Columbus's diary. These notes correspond in part to the features of the image, always restless between opposite shores, avoiding being pigeonholed. But it is also an unclassifiable entity, slippery with schemes, halfway between different natural kingdoms. The properties of this strange hybrid undoubtedly intervene in the connotations caused by the work: the caravel is a colonial, predatory organism whose appearance and name are associated with the European conquest. Its appearance is similar to the boat that keeps its name its poisonous touch makes it fearsome in sea waters. The work focuses on the haunting figure of the ‘aguaviva’, a false jellyfish or caravel, a colony formed by five associates whose interaction keeps it alive. “The video Carabela links, in a deliberately obscure way, images and texts from different fields. The image and the ‘seeing’ are also taken the body, the landscape, the geography, the nature, are assumed as positive concepts, although the idea of the "exotic", the "primitive" is embedded in them, that is, the idea of the savage, the "good savage". A narrative to create abject stories and poetics that sublimates it, become tools with great symbolic power. Coloniality is re-presented in language, from the narrative to the poetic. A territory won in the imaginary of our societies, where the colonial invention of the Other, the savage, the Indian, keeps installed in Latin American thought.
#Diptic opostie series
The series Cuentos Bárbaros continues this time from the conquered territories and turned into abject geographies, where the American savage inhabits. Drawing geographies and bodies without limits are a betting for their (re) conquest.
The body and memory are conquered territories. Reconciliation with our representations, with the body and our geography, as well as the abandonment of colonial thought are the objectives of my work. Through the image and the word, I have subverted imaginary related to the wild, the ugly, the stained. Reflecting on the repeated colonial strategy of perpetuating ourselves as "barbarians" has been a constant concern for me.
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