Juan Manuel Echavarría: BOCAS DE CENIZA (ASCHENMÜNDER), 2003-2004
Juan Manuel Echavarría
geboren 1947 in Medellin, Kolumbien, lebt und arbeitet in Bogotá. Ursprünglich als Schriftsteller tätig, fand seine erste Ausstellung 1998 in New York statt. Seither wurden seine Arbeiten u.a. bei der 18. Biennale von Sydney, der 51. Biennale von Venedig 2005, dem Toronto International Film Festival in Kanada, der Art in General in New York sowie im ZKM Karlsruhe und im Museum of Modern Art in Buenos Aires präsentiert. Im KULTUM wurde Echavarría in der Ausstellung „WIE DU MIR. Gegenbilder für transkulturelles Denken und Handeln“ (2008) gezeigt.
born in Medellin, Colombia, in 1947; lives and works in Bogotá, Colombia. He had initially been a writer and had his first exhibition in New York in 1998. Since then, his works have been shown i.a. at the 18th Sydney Biennale, the 51st Venice Biennale in 2005, the Toronto International Film Festival, Canada, Art in General, New York as well as at ZKM Karlsruhe and in the Museum of Modern Art, Buenos Aires, Argentina. Echavarría’s works were presented in the KULTUM in the exhibition “WIE DU MIR. Gegenbilder für transkulturelles Denken und Handeln“ (2008).
Juan Manuel Echavarría: BOCAS DE CENIZA (ASH MOUTHS), 2003-2004
“Bocas de Ceniza“ is the name the Spanish conquistadors gave the delta estuary of the Rio Magdalena due to the day of its discovery, an Ash Wednesday. From there, they set out to conquer and exploit today’s Colombia. Down to the present day, the river has remained a symbol for violence and death, for time and time again the dead bodies of victims of the countless armed conflicts of the past decades disappeared in it.
Many of the local Colombians witnessed atrocious massacres and the video shows how some of them come to terms with their traumatic experiences in songs. In 2003, Juan Manuel Echavarría went out in search of them. What is so unusual about these sung testimonies is the fact that not one of the singers seeks revenge. No single word instigates violence or hatred. And the camera did not move or pan when he filmed the faces of the witnesses in front of a white background. The eyes as a mirror of the soul, which has received terrible injuries, manifest a softness and dignity that catches us off-guard and deeply moves us. The individual pain and suffering must have been terrible but these people stir up hope because they show a way beyond hatred, beyond an eye for an eye, and a tooth for a tooth.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 546-547.