Video-cannon-shots of postconflict


Videoart program – PANORAMA COLOMBIA

This year Kurator Rex will delight us with “Psychic Response Strategy”, his most recent selection of video art which unites fifty seven works of forty one colombian visual artist and filmmakers from distinct generations and trajectories.
Psychic Response Strategy is a selection of video art that arises from the expectation raised by the probability of accessing a special category, a social welfare state called “Post-conflict”.



Jonhatan Acevedo. / Diego Aguilar. / Don Nadie (Juan Bocanegra + Jorge Sarmiento). / Fernando Arias. / Javier Bernal-Arevalo. / Luisa Botero. / Natalia Castañeda. / Andrés Felipe Castaño. / Pablo Correa Gonzalez / Diego Alejandro Garzón. / Catalina Gómez Rueda. / Juliana Góngora. / Juan Camilo González. / Gustavo Gutierrez. / Carlos Guzmán. / Miguel Hernández. / Simon Hernández. / Miguel Jara. / Santiago Lemus. / María Angélica Madero. / Ana Maria Millán / Roberto Ochoa. / Mario Opazo. / Fernando Pertúz. / Adriana Pineda. / Edinson Javier Quiñones. / Mauricio Ramirez. / Miguel Angel Rojas. / Jose María Rubio. / Claudia Salamanca. / Camilo Sanabria. / Edwin Sanchez. / Andres Sandoval Alba. / Raquel Solórzano. / Andrés Felipe Uribe. / Siu Vásquez. / Ivonne Viviana Villamil. / Tatyana Zambrano.



“For the first time also, my movements no longer proceed unto the things to be seen, to be touched, or unto my own body occupied in seeing and touching them, but they address themselves to the body in general and for itself (whether it be my own or that of another), because for the first time, through the other body, I see that, in its coupling with the flesh of the world, the body contributes more than it receives, adding to the world that I see the treasure necessary for what the other body sees.”
Maurice Merleau-Ponty


Faced with the sensitivity that is required to process a complex and massive event like the one announcing the post-conflict in Colombia, the proposed program of video art, which consists of a compilation of audiovisual projects of Colombian artists from different generations, not only presents a social memory or sequences of fiction, but also constitutes true psychic states that, through metaphors, become valuable documents of a social and human conflict.
In the first instance, video art is a residual material from psychic processes of the spectator, a spectator who we will later call artist. In the middle of the conflict, the artist is a spectator or an actor so fortunate, that he has had time on his hands, time to confront historical and social documents, to record, to appropriate them and set a personal document out of these, a direct and intimate response which emerges as an imperative need expressed by deliberate and experimental actions, as staging and video editing or montage.
In January this year the Government of Colombia announced the initial investment of 470 million dollars in the implementation of the first phase of the post-conflict. This phase has been called “Rapid Response Strategy” and would be implemented by the recently created “Ministry of Post-Conflict”.
We are used to hear statements from military and political language in the news, such as: “Governments should take charge of a -quick response- facing global threats of increasing terrorism and the spreading of the crisis” or “NATO will increase its -Rapid Response Force- up to 40,000 people”. Nevertheless, within the framework of this trascendent, collective event, the function of time expressions like: “Post”-conflict and “Rapid” Response cannot only be assumed as a part of a deep and urgent need to enter a new social state, but, above all in a new psychic state. Perhaps it could offers the possibility of a much less conventional peace than we usually see in the news.


Curated by Julian Santana



Short Programme.

Hand to hand / Body to body. Haptics and Kinesics of the conflict.

Through the record of various scenarios and symbolic actions, the videos of this selection are testimonies of the fragility but tenacity of the human body which bears all the harshness of the conflict. In these scenarios, body language and haptic perception are a discursive tool, and at the same time a mechanism of spontaneous and direct resistance. It is a sequence of high contrast between the alienation of the subject in the machinery of war and a tenacious human effort to overcome the incoherences of war speech.


Simetria ( Symmetry ). Siu Vásquez.  2’15”
Suelta que nos vamos ( Loose we go ). Diego Alejandro Garzon. 1’38”
Shot. Edinson Javier Quiñones. 0’31”
Country Trademark. Andres Felipe Uribe. 5’00”
Material Evidence. Claudia Salamanca. 3’21”
Caquetá. Miguel Angel Rojas. 7’56”
La Creación de Adán ( The Creation of Adam ). Mario Opazo. 6’34”
Derecherda. Diego Alejandro Garzon. 1’48”
El Armisticio / Rogelio Echavarría ( The Armistice / Rogelio Echavarria ). María Angélica Madero. 1’34”
Confesiones de Rimbaud ( Rimbaud’s confessions ). Luisa Botero. 7’43”
Hilantes ( Spinners ). Juliana Góngora. 8’03”




Long Programme.
In a not too distant and very violent country, the story starts, and “as violence always creates more violence” the beginning is not very clear. The most fervent believers say it has been like that since Cain killed Abel, while others, more decolonial ones argue that it started with the christianization and torture of “Indians” in the colonies. Later, in the full glare of the cold war which was already very hot in Colombia, people tried to untie a knot step by step that immobilizes, gags and gets stuck deep inside the throat. In the end, time led to the promise that strengthens and comforts us today, that gets us back to a point where we see new life emerge: a Post-conflict, which fortunately, we are going to see, we will see.



1. Pre-ammunition.

“It contains scenes of mild violence”, Colombian television would warn. Similarly, concerning this series of videos and animations, it could rather be noted that it contains “unpromising omens”, where the feeling that something is wrong is, ironically, accompanied by the desire to keep watching.


Poemas negros ( Black Poems ). Raquel Solorzano. 2’26”
Intervalo rojo ( Red interval ). Miguel Hernández. 1’11” [image above]
La Flor ( The Flower ). Ana Maria Millan y Andres Sandoval Alba. 0’19”
Lances. Edinson Javier Quiñones. 2’30”
Estar “apretao” ( Be pressed ). Leonel Vásquez. 4’58’
Utopila # 2. Diego Alejandro Garzon 3’12”
Momentum. Javier Bernal-Arevalo. 2’05”
Karma. Tatyana Zambrano 2’57”



2. Alien hand syndrome.

Cachiporro !, Godo !, Mamerto !, Bureaucrat !, Mafioso !, Corrupt !, Communist !, Facho !, Guerrillo !, Paraco !, Terrorist !, Murderer ! Dwell in the depths of the mind, a psychic conflict develops between one hand and the other, pure distrust between them. They quarrel, insult and even kill each other. And although they belong to the same body, everybody wonders: Where do they have the head?


Simetria ( Symmetry ). Siu Vásquez. 2’15”
Imbricación temporal ( Temporal superimpose ). Carlos Guzman. 1’28” [image above]
Concepto de desarrollo ( Development concept ). Andrés Felipe Castaño. 2’00”
Dia de campo ( Day Camp ). Fernando Pertuz. 3’00”
Brit 101. Simón Hernández + Camilo Sanabria. 5’42”
Linternas sordas ( Deaf lantenrs ). Miguel Hernández 7’13”
O.G.N Desde las montañas de Colombia ( O.G.N From the mountains of Colombia ). Tatyana Zambrano + Roberto Ochoa 13’45”
Una canción social ( A social song ). Andrés Felipe Castaño. 1’36”
Die Fliegen. Don Nadie (Jorge Sarmiento + Juan Bocanegra). 5’37”
Derecherda ( Righteft ). Diego Alejandro Garzon.1’48”



3. How to kill one bird with two stones.

Alfonso Reyes Echandía, Luis Carlos Galan Sarmiento, Carlos Pizarro Leongómez, Jaime Garzón Forero, Eudaldo Leon Diaz Salgado. To the memory of those who have left their thoughts through their speeches, their discontent, or perhaps their last words, they are all welcome here. The condor who sees everything has two heads, the history, that always tells whatever it wants, and the memory, that I always forget.


Condor. Stories of the violence in Colombia. Gustavo Gutierrez. 6’45”
Un enemigo a derrotar ( An enemy to defeat ). Natalia Castañeda + Adriana Pineda. 3’28”
Jardín ( Garden ). Mauricio Ramirez. 1’40”
Cuerpos que resisten ( Bodies who resist ). Leonel Vásquez. 1’25”
Proyecto 2415017 ( Project 2415017 ). Carlos Guzman. 3’38”
Luis Carlos Galán; 1982. Jose María Rubio. 5’04”            
Canción a Pizarro ( Song for Pizarro ). Simón Hernández. 2’27”
Guau! ( Woof! ). Jose María Rubio. 0’10”
30 Seconds. Claudia Salamanca. 7’57”
Abelianas. Miguel Jara 4’00” [image above]
El olvido del condor ( The oblivion of the condor ). Diego Aguilar 4’47”



4. No order, no discretion, no regard.

Come together in the same room to recall the cruelest descriptions and revive the rawest images, the disasters of war ask themselves the following question: “Having done all we have done, and having seen all we have seen, what comes next?”. And that is when it arises which seems to be a sign of hope: their imagination and ideas are already depleted from so much destruction.


Shot. Edinson Javier Quiñones. 0’31”
Test de Rorschach ( Rorschach Test ). Luisa Botero 2’29”
Material evidence. Claudia Salamanca. 8’08”
Cuerpo borrado ( Erased body ). Luisa Botero 6’20”
Mejor acogida en el más allá ( Better reception in the hereafter ) . Edinson Javier Quiñones 3’17”
Matas rojas ( Red weeds ). Mauricio Ramirez. 2’52”
Desapariciones ( Disappearances ). Edwin Sanchez. 7’43”
Desastre de la guerra Num. 33 ( War Disaster Num. 33 ). Andres Felipe Uribe. 1’51”
Todo cuerpo pesa ( Every body weighs ). Juliana Góngora. 1’09”
Caquetá. Miguel Angel Rojas. 7’56” [image above]



5. One Bolero plus one Blues.

Bolero Stereo 96.3 FM. Emotions become quieter seventy or eighty light years away. Radiofrequency waves that expand and distort the voice of the journalist: The raid … The violent clash … The attack … The crossfire … Taking … Cylinder bombs or … the destruction of the encampment, they leave a balance of many deaths, ghosts, radiofrequency waves that expand and then disappear.


Humanos derechos. Fernando Arias. 5’00” [image above]
Country trademark. Andres Felipe Uribe. 5’00”
Bolero. Miguel Hernández. 5’12”
Palabra dura ( Hard word ). Juliana Góngora.4’25”
Muerte privada ( Private death ). Pablo Correa Gonzalez. 12’51”
Suelta que nos vamos ( Loose we go ). Diego Alejandro Garzon. 1’38”
Príncipe ( Prince ). Mauricio Ramirez. 5’21”
Cadáver exquisito ( Exquisite cadaver ). Jonhatan Acevedo 2’30”
Mecanismo olvidador ( Mechanism to forget ). Juan Camilo González 2’19”



6. From the Creation of Adam to the Post-Conflict.

Turning point, new opportunity, a single way out. From “The Creation of Adam”, as if the god of war would forget the pleasure of doing harm, to the child who manages to become an adult seeding clouds in “Whisper of move”. The end of one story is the beginning of the following: Post-conflict.


La creación de Adán ( The creation of Adam ). Mario Opazo. 6’34”
A colombian Pope. Fernando Arias. 1’40”
Frontera es encuentro ( Border is meeting ). Catalina Gómez Rueda + Santiago Lemus. 3’21”
El armisticio / Rogelio Echavarría ( The armistice / Rogelio Echavarria ). María Angélica Madero. 1’34”
Incluso el infortunio se convierte en pasado ( Even misfortune becomes the past ). Ivonne Viviana Villamil. 2’07”
Confesiones de Rimbaud ( Rimbaud’s confessions ). Luisa Botero. 7’43”
Hilantes ( Spinners ). Juliana Góngora. 8’03”
El acto del dialogo en los ojos de uno ( The act of dialogue through the eyes of one ). María Angélica Madero. 6’47”
Whisper of move. Diego Alejandro Garzon. 7’28” [image above]