ARCHIVO MUERTO by Andrés Orjuela

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El Espacio circulated in Bogota for nearly 5 many years. It was one of many few and final “Pink Press” of town. Each morning, it confirmed gore footage of crimes, crimson headlines and topless girls within the final web page. Its photographic archive, thrown away and picked up by avenue recyclers, was bought by weight as reusable paper. It was virtually undoubtedly misplaced however attributable to the truth that some footage fell into the arms of few collectors, a small a part of it was saved. A gaggle of authentic photographs, with their identification knowledge on the again, was chosen by Andrés Orjuela. He has chosen to re-interpret and steadily reveal stays of this archive.

The prehistory of drug trafficking turns into imminent, present, since Archivo muerto is a mirror the place we see the identical avenue murders, the identical stowaways attempting to cross the border, the identical police abuses, the identical small traffickers captured and exhibited within the information these days. Orjuela witnesses them in different time and in different faces. He enlarges the unique photographs and manually lights them up, to color the dangerous mundane; inspecting, on this approach, the pernicious order of the worlds.

The photographs maintain the title of the unique pictures, that’s, the identification title given by the newspaper, and it contains, as an annex, an 1:1 measurement descriptive sheet, made in a rush as within the newspaper’s newsroom, with dates and annotations; preserving the construction. This look is nearer to the executioner than to the sufferer, for the reason that artist doesn’t alter in essence the instructive message of the extinct Bogota’s newspaper. The appliance of the pigments, highlights, in contrast, the personal “brutalism” of El Espacio,

Thus, as a witness and as an archiver, Orjuela makes seen the invisibility of the already described social order. Divided, illuminated, because the story itself, this archive is devoted to those that stay in hardship. Greater than a file of evils, it’s a file of misfortune, of the captured, arrested, executed, run over, shot and slashed. Extracted from the archive of El Espacio, these photographs are like tarot playing cards. They seem with out chronological, iconographic, sequential order, which permits us to see collectively the punishments and abuses, the crimes of tomorrow.

Maybe, the progressive curiosity that Archivo muerto reaches right now has to do with the “Colombianization” of the world normally, which consists within the corruption with out borders and in all fronts: the Panama Papers and Odebrecht, the expansion of personal armies –corresponding to Blackwater–, Colombian paramilitaries and Mexican Los Zetas, coups with out coup in nations like Brazil and Paraguay; the normalization of crime and the evident international narcotization that lead us to return to the virtually inevitable concern of medicine and Colombian society. Archivo muerto has to do, clearly, with that second when Colombians “stopped washing dishes and began to clean cash” –borrowing the phrases of the Colombian filmmaker Luis Ospina. The glorification of Escobar in Netflix, of which publishers all all over the world are accomplices and beneficiaries by publishing the reminiscences of his son, brothers and numerous biographies. All of them maliciously conceal the relations among the many CIA, the mafia and the darkish regimes from Central and South America.

In Colombia, there’s a lengthy historical past and custom of violence from which anybody can be taught. One thing that may not be denied is the event of a legal tradition –promoted by it’s political class– that comes by means of the birds and bandits of La Violencia within the 50’s and continues with the bands that managed the emerald mines and the beginnings of cocaine trafficking to Batista’s Cuba, with the origins of marijuana trafficking from the Caribbean Coast to the shores of Florida within the years after the struggle in Vietnam, which reaches its zenith not with Pablo Escobar, however with Álvaro Uribe and his authorities that murdered extra residents than the three dictatorships of the Southern Cone mixed. Therefore, right now we use the time period “Colombianization” to explain the violent deterioration of any society.

Archivo muerto chooses the previous to witness, fragmentarily, the event and evolution of a main violence, which is the product of an incredible and never talked about social exclusion, true mom of all evils.

Textual content: ©Santiago Rueda

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