presentacionepoca sintesis ing

8/17/2019 PresentacionEpoca SIntesis Ing

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TITTLE:VOCES, IMÁGENES Y MEMORIAS. México-Colombia: 1980-2017 / VOICES, IMAGES & MEMORIES. Mexico-Colombia: 1980-2017

PROJECT DESCRIPTION:“Voces, Imágenes y Memorias. México-Colombia: 1980-2017.” (Voices, images & memories. Mexico-Colombia:1980-2017 in Spanish) is a symposium proposed by the UNAM´s Arts and Design Faculty based investigationgroup: Image and Violence in Latin America (GI-IVLA by its acronym in Spanish), as an alternative approach tothe Violence phenomenon and how it has affected (and continues doing it) the cultural processes, visualconstructions and artistic production in a context that is constantly faced with the narco-violence. The symposiumpretends to be a tool that helps to identify and understand the differences between the social, political andeconomic causes and consequences of the violence and the drug smuggling in both Mexico and Colombia as italso explores the influence of this phenomena in the culture, the visual and artistic production in these countries.This is achieved by rethinking each context nature through an open discussion with a highly qualified panel ofspeakers from different disciplines that will help to understand the structure of each case with the objective toreestablish the actual moment of Narco and its influence on the culture, specially, on the visual culture in LatinAmerica.

The symposium will take place between September the 20 and 22 of 2017 at the Contemporary Art UniversityMuseum (MUAC by its acronym in Spanish) in Mexico City, seeking to analyze and answer: How is art responsebefore violence and drug smuggling in both countries? What is the Narco in each context? How is it established?What are its [Narco’s] processes and who get involved in them? Which cultures derive from it? Which charactersare generated? And what is Narco’s actual moment in both nations?

CONCEPTUAL GUIDELINES:Voices:In both cases the term “daño colateral”1 is referring to the consequences that the conflict infringe over the bodies;indifferently if they are directly or indirectly infringe: death, abduction, disappearance or torture, rips off the identityand transforms the victims into voiceless entities. The Colombian memory construction exercise is a successfulrestoration act of a social tissue tornned of by an armed conflict for almost half a century, but what happens when

collective memory is object of violence? This happens in Mexico where the response before this kind of memoryconstruction exercise and social demand organizations are blocked by the implementation of forgetfulness as apolitical strategy that prevents a long-term social cohesion. In the other hand, the art has found in the memory acreative source for its statements, seeking the reconstruction of those voices and versions of non-historic truths,turning the spotlight over specific facts to give voice to the voiceless ones.Images:The image production processes are directly related with the ideology that constructs them as well as this ideologyis to its time. Nevertheless when this images are displayed as a domination strategy seeking the strengthen of thehegemonic ideology using the mass culture and promoting conductual models as they legitimate the speeches,like it occurred with Christian morality on the colonial times (and even today keeps a vast influence over most ofLatin America’s popular culture) the pretended normalization of violence, by the hegemony, as a way of lifepresents a serious problematic and that’s what happens with the Narco when it becomes a cultural reference of a

nation2.That’s why the starting point of this event is the confrontation of two kinds of images that are related with theviolence: Those that expose explicitly Narco’s violence and show those “cuerpos rotos”3. And the other one, th

1(collateral damage) La narcomáquina y el trabajo de la violencia: Apuntes para su decodificación.

Rossana Reguillo. Reviewed 02/25/2016. http://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillo 2 “Así, llegamos al siglo XXI y nos encontramos integrados como latinoamericanos vía el narco(...)”/“In hat way, we reach XXI century and we find ourselves integrated as Latin Americans by theNarco(…)” Omar Rincón. “Todos llevamos un narco adentro. Un ensayo sobre la

narco/cultura/telenovela como modo de entrada a la modernidad”. MATRIZes. Vol 7 No 2. (SãoPaulo, Brasil 2013). p.2 3(Broken bodies) Rossana Reguillo op. cit.

http://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillohttp://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillohttp://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillohttp://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillohttp://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillohttp://hemisphericinstitute.org/hemi/es/e-misferica-82/reguillo


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diverse cultural manifestations against that violence, specially, the images originated from the arts that demands,provokes and asks along for a reflection over the conflict.Narco:¿How to think about the last decades in México and Colombia without referring to Narco? The historicaldevelopment of this phenomenon prove that the term must be established parallel to the facts. Violence,displacement, abductions, disappearances, deaths and war emerge as consequences that cannot be reduce justto drug smuggling. It’s evident that it’s about a system, sometimes explicit, always unexpected and stillundeciphered, there’s a mafia that uses this systemic violence and in occasions is the government who getsinvolved in its execution of the violent actions. The system of the Narcomachine where the idea of the Narco isconstructed and problematized from a transdiscilinpline suggests a first attempt to understand its mechanism anda possibility to dismount its operational capacity.State: Only through a State with a specific set of characteristics it’s possible to explain the existence of Narco as aphenomena and its diverse consequences over specific populations, as it happens with violence. In Mexico, aswell as in Colombia, the large list of crimes against humanity4 shows that persons and public officers have getinvolved not only on the execution of those crimes but also as intellectual authors of them. The empowerment ofarmed corps reflects the implementation of necropolitics5 that through the activation of the States of Emergency

try to legitimate the use of violence and death, elaborating speeches, narratives, “Historical Truths” that onlycomplicates more the recognition of the guilty ones as this has happened in the “Guerra contra el narcotráfico”. Topoint a narco-state means to stablish another perspective from where to study the topics referring to violence andmafia.

JUSTIFICATION:The importance of comparing Mexico with another Latin American country where the violence produced by thedrug smuggling is recognized at an international level lays in the need to create a conjunct panorama of both casesthrough a historical review that emphasizes in the causes and consequences that brings us to Mexico’s actualmoment: the conflict or war against the Narco. From here we can discuss the different phenomena around violence,drug smuggling and culture, those that makes them more complex, those that construct them and the culturalprocesses that derive from them.

OBJETCIVE:To open a space of dialogue between experts, academics, researchers and artists from Mexico and Colombia toexpose, analyze and compare the social, political and causes and consequences of the drug smuggling andviolence phenomena in Mexico and Colombia and how they influence over the cultural and artistic productionprocesses in a context of Narco’s extreme violence.Further than strengthen the links between Mexico and Colombia through the academic dialogue, as a step to finda conjunct answer to the violence situation on Latin America, we seek to strength to relations and work betweenthe UNAM’s institutions, in this case the Contemporary Art University Museum (MUAC) and the alumni of the Artsand Design Faculty (FAD)...

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Inconsistent as the forced disappearance of the 43 students in Iguala, Mexico; the break of Mexico’sgreatest drug lord from a maximum security prison and the constant abuses from the state forces aswell as the threatening situation of the journalists in the country. 5“Lo usé para referirme (...) a aquellas figuras de la soberanía cuyo proyecto central es la

instrumentalización generalizada de la existencia humana y la destrucción material de los cuerpos ypopulaciones humanos juzgados como desechables o superfluos (...)en las cuales el poder, o elgobierno, se refieren o apelan de manera continua a la emergencia, y a una noción ficcionalizada ofantasmática del enemigo (...) Que por estar amenazados podemos matar sin distinción a quienes juzguemos como nuestro enemigo.” / “I used it to refer (…) to those sovereign figures whose centralproject is the general instrumentalization of human existence, the material destruction of the bodiesand human populations pointed out as disposable or superfluous (…) in where the power or thegovernment, refer or appeal in a constant way to the emergency, and to a fictionalized or ghostlynotion of enemy (…) That only for the threaten we can kill without distinction to those we judge our

enemies” Achille Mbembe, “Necropolítica, una revisión” en Estética y violencia: necropolítica, militarización yvidas lloradas. (Ciudad de México: ediciones MUAC, 2012) p. 135.


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