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COLOMBIAN VIDEOART PROGRAM

KURATOR REX PRESENTS

DE-COLOMBIANITY NOW!

VIDEOCAÑONAZOS DEL POST-CONFLICTO VOL. 3
COLOMBIAN VIDEOART ON POST-CONFLICT & UTOPIA

Panorama Colombia, the Colombian Film Festival of Berlin, in its fifth version, is pleased to announce its official video art program that will include the participation of:

Edinson Quiñones, Alexander Rios, Carol Sabbadini, Santiago Camargo, Miguel Ángel Rojas, Esteban Rivera, Mario Opazo, Fernando Arias, Ricardo Moreno, Carlos Motta, Clemencia Echeverri, Tatyana Zambrano, Diego Aguilar, Sandra Rengifo.

“The savages that inhabit it would be civilized, and our possessions would be increased in the acquisition of the Goajira [territory]. This nation would be called Colombia, as a tribute of justice and gratitude to the breeder of our hemisphere.”

Simón Bolivar
The Jamaica Letter, September 6, 1815.

We come from the times of the ‘post-’ prefix, where the need and expectation to travel towards future realities, hopefully better, has become evident. Great “discoveries” of the western world have become evident here: through post-truth, cynicism was rediscovered; through post-conflicts, the disillusionment we manifested towards utopias was rediscovered (like the long-awaited and elusive “stable and lasting peace” (Nuevo Acuerdo Final para la Terminación del Conflicto y la Construcción de una Paz Estable y Duradera [New Final Agreement for the Termination of the Conflict and the Construction of a Stable and Lasting Peace]. https://bit.ly/2mXa6W6)  that is claimed to exist today in Colombia); through postmodernity, on the globalized scale of Western ideological structures, failure was rediscovered and through post-colonialism, we deeply hope that shame has been rediscovered in the face of an abysmal colonial legacy.


The brief quote of Bolivar transcribed at the beginning of this text is sufficiently extensive to clearly show part of the colonial matrix of powers with which our independent nation, Colombia, was conceived and constituted. Hierarchies of domination in class, race and economy tell how ideological structures are exclusionary, naturalized and easy to identify. The opposition of the savage to the civilized will continue to account among other things, why the fellow rural and peripheral, as well as their struggles and leaders, are always identified in a condition of tacit inferiority against the interests of the one who is urban, central and enlightened. This is an important value when qualifying contemporary political initiatives such as wanting to separate the territory of Cauca in two, one for mestizos and another for aboriginals (The proposal of Paloma Valencia is clear, one Cauca for the landowners and another for those who were stripped by these from their lands”, said @villarreal2008.
https://bit.ly/2BRhSHe
) , in a region that has the most extensive list of murdered social leaders of the recent Colombian ‘post-conflict’.


In the national identity, the legacy which we must fight against remains, this ‘tribute of justice and gratitude to the breeder of our hemisphere’, converts our nation in the paradigm of the colonial nature of being, of knowledge and power. In this homage to Christophorus Columbus, Colombia carries in its implicit name the categorical denial of all those excluded from the national memory. Colombia was once Ecuador, Nueva Granada (now Colombia) and Venezuela united, of course, the expanded dream of Bolivar may had been that the Abya Yala, or the entire America, were also a united Colombia.


For those who might prefer the prefix ‘de’, from the “Decolonial option”, perhaps an alternative to follow an independence project like the one of ‘Colombia’, would be precisely to de-colombianize its identity, in the midst of an analytical and practical effort for de-linking and confronting these colonial matrices of power in religion, state and society. That is, to reverse the homage or at least to question those ideological structures that make it possible in the collective unconscious. This is the intention, not unique, but shared, of the selected audiovisual projects that are part of this exhibition.

By Julián Santana / Kurator Rex

VIDEOCRÁTICA - Audiovisual Research and Creation Residencies Program.

 

This year, KURATOR REX, Official Video Art Program of Panorama Colombia, will host some of the projects of the artists that will be part of Videocratica, an initiative of audiovisual creation residencies led by El Kruce projects in Colombia in association with Kunstrial eV in Germany.
 
In this second year of the exchange program for artistic residencies between Colombia and Germany, Videocrática will receive in Berlin between March 14 and April 14 the following Colombian artists: Sandra Rengifo, Alexander Ríos, and -La Radio Criolla- as a guest project to the sound creation residency.

DAY 1

Edinson Quiñones. CA - U - CA. 2018.
Alexander Rios. El mensaje de la montaña. 2018.
Carol Sabbadini. Mi Lengua. 2012
Santiago Camargo. Idolación. 2017.
Miguel Ángel Rojas. Dogma y conciencia. 1999.
Esteban Rivera. The extension of the heaven. 2016.
Mario Opazo. La imágen. 2013.

DURATION OF THE PROGRAM: 45 MIN

SCREENING – FREE ENTRANCE

 

Friday 15.03.2019          Babylon 3         17:00 h

DAY 2

Fernando Arias. Bandera de la PAS. 2016 1:00
Ricardo Moreno.  Tren minero incesante. 2018.
Carlos Motta. Where Do I Stand?. 2008.
Clemencia Echeverri. Version Libre. 2014.
Tatyana Zambrano. Attached message / Mensaje adjunto. 2016.
Tatyana Zambrano. Vernissage Museo FARC-EP. 2016.
Diego Aguilar. Acta de fundación. 2009.
Sandra Regifo. Διαψαλματα / Diapsálmata. 2018.
Fernando Arias. Bandera de la PAS. 2018.

DURATION OF THE PROGRAM: 45 MIN

SCREENING – FREE ENTRANCE

 

Saturday 16.03.2019        Babylon 3         17:00 h

DAY 3

This year, in addition to the video art program, Panorama Colombia has made a special invitation to the Decolonial Museum, a project of the artist Julián Santana. Decolonial Museum was an audiovisual intervention project in the collection of the Colonial Museum in Bogotá between October 2018 and January 2019. Santana carried out a research process in which, in addition to touring museums and heritage assets such as the Pre-Hispanic Latin American Collection from the Ethnological Museum of Berlin, Germany; the Gold Museum (Museo del Oro), in Bogotá, Colombia; the House of America (Casa de América), in Madrid, Spain; The General Archive of the Indies (Archivo General de Indias) and the Colombia Pavilion (Pabellón de Colombia), in Sevilla, Spain. He also compiled a series of vital audiovisual testimonies, immaterial references with which he built the series of audiovisual interventions that he placed in the rooms of the Colonial Museum of Bogotá, that now can also be appreciated in the framework of Panorama Colombia. From a decolonial perspective, the audiovisuals of this exhibition are added to the series of critical reflections that, on the belonging of the heritage and the colonial legacies, nowadays arise around the adaptation of the Humboldt Forum and the reconstruction of the Berliner Stadtschloss in Berlin.
The Decolonial Museum would not have been possible without the collaboration of: Aminta Yara, Marcos Yule (ACIN), Alberto Quiroga; Daniel Ramírez and Claudia Supelano-Gross (University of Tolima); Lucía Madriñán Saa (consul of Colombia in Seville); Manuela Fisher (Ethnological Museum of Berlin); Manuel Amaya Quintero and Maria Constanza Toquica (Colonial Museum of Bogotá).

SCREENING – FREE ENTRANCE

 

Sunday 16.03.2019          Babylon 3         16:15 h