March of Silence

Thinking of ourselves as a collective body implies putting into dialogue the various expressions and reflections that have individually built our creative processes, in this sense, the proposal is built from the three perspectives, namely: Santiago Echeverry from the experience from the practices of the electronic arts, performance and queer activism, which in the particular case of this project will be understood from the same nature and landscape that manifests itself as queer, even sometimes non-binary. In the same way, part of the devices and actions that are proposed intertwine stories of their grandparents who inhabited and in past times assumed journeys through the Magdalena River as coffee farmers carrying means of transport and communication (radio) from distant places (Germany). Remote areas throughout the fluvial torrent of said river, entering through Barranquilla from the seaports and then from the river to Villahermosa (Tolima). Kostas Tsanakas from a reflection of the nomadic photographic act and walking, in convergence with the analysis of the specific social, political and economic logic of the regions, proposes a non-linear narrative from the photographic series, where the possible story is articulated by pointing and problematizing the events, the spaces, the experiences of the people of the places that he approaches with his support. These visual documents establish an important relationship between metaphors, contemplative states suspended in each photograph. His journey takes place from his journey from Greece and Germany to his arrival in Colombia entering the Caribbean, navigating with his eyes the port of Mompóx, Puerto Boyacá and later the walks along the abandoned lines of the Ferrocarril de la Sabana and the Ferrocarril of Girardot. The trains and their short history in Colombia, as well as the rivers, become the outline and pretext that connects the expeditionary stories of their proceeding. Sandra Rengifo, from the exploration of experimental video and the installation in a constant relationship with neo-romanticism, connects the relationships of landscapes and territories along these same routes from an erratic and poetic construction, those fragments that hide, collapse or vanish. Invisible borders that in some cases are eaten up by the power and force of nature, as the primary basis of what the flow of the Río Negro has taken to its mouth in the Río Magdalena. Living and inert bodies in containment that make us think about their weight, their load, the stone that the river and its blows have forged. Sound as materiality in specific spaces will be connected with the two-dimensional plastic explorations and live arts that arise from the procedures. The research is based on the review of bibliographic material on the train routes, the problems and historical events of both rivers, the social implications from the past to the present of the confluence of these sections, natural and iron. Natural and unnatural, imposed or random is the pretext to cross and navigate the points of view that arise from these perspectives of investigation and audiovisual and performative appropriation.

The FPPR (Post Punk Revolutionary Front) was incarnated for the first time within the framework of the 2019 political demonstrations in Bogotá. The incessant walks through the city and prolonged conversations about the situations that we faced as subjects (from here and there) were the pretext to put together a collective, on that occasion we were with Un Pasajero and Franklin, also founding members of the FPPR. One night these talks found an echo when we called ourselves a hypothetical open collective, –also referring to the fact that people can enter or leave the collective depending on the tasks/activities/interventions that we do–, united in part by our musical tastes and political thoughts, the walking and inhabiting the public space as an act of resistance. On this occasion for the 46th National Artists’ Salon we were invited as a collective and we made this audiovisual version, perhaps at other times or activities others will work, others will enter or leave as has been common in past movements or demonstrations.
No
Nothing
Never