El artículo, producto de una investigación-creación,
aborda la relación entre arte y violencia en Colombia.
Se realiza una sucinta caracterización de tres
períodos de la violencia delimitados por ...reconocidos
historiadores; y se analiza el caso de la masacre de
Trujillo, con base en los resultados obtenidos por
el grupo de Memoria Histórica de la Comisión Nacional
de Reparación y Reconciliación. Se expone
un breviario de las obras más destacadas del arte
colombiano que hacen referencia a la violencia, y se
reflexiona en torno a la postura que el artista debe
adoptar al abordar ese tema. Se presentan algunas
de las obras artísticas que han surgido a partir de la
masacre de Trujillo, así como de los ríos colombianos,
por ser lugares en los que convergen la tragedia
que surge de la violencia y la experiencia del duelo
sin solución. Finalmente, se presenta la obra que
surgió del proceso de investigación: Río, que articula
el paisaje y el contramonumento como categorías
para la exploración creativa.
The article is the product of a research/creation dealing
with the relation between art and violence in Colombia. It
begins by giving a brief description of three well-delimited
violent periods according to outstanding historians, and by
closely analyzing the Massacre of Trujillo as understood by
Historical Memory, a group part of the National Reparation
and Reconciliation Commission. Then, the author provides
a breviary of the most prominent Colombian artworks in
relation to violence, and proposes a meditation around the
standpoint that artists should take towards this particular
issue. Subsequently, it presents some art proposals originated
by the Massacre of Trujillo, as well as artworks inspired on
Colombian rivers for being places where tragedy and truncated
mourning rituals converge. Finally, the article introduces Río,
the product of the research process, an artwork articulating
the landscape and the unmonumental as categories for creative
exploration.
At the 1993 Aperto group show at the Venice Biennale, Mexican artist Gabriel Orozco installed an empty white shoebox in the space that he had been allocated (figure 45). Every time he placed it on ...the ground, it was removed and thrown out as trash. Orozco responded by keeping a large number of replacement boxes at hand. On the day of the opening, oblivious visitors accidentally kicked the box around as they were looking for the art. When exhibition curator Francesco Bonami suggested to Orozco that he glue down his Empty Shoe Box to avoid this, the artist refused, arguing
