Paradoxon Spirituale
Oscar Murillo proposes a performative action that questions fundamental issues about work, femininity and violence in Latin America based on the proletarian novel “Parque Industrial” written by Gabriela Galvao. Wilson Díaz uses a comic strip magazine produced by the Colombian army to discuss these issues with a metaphysical approach. Both works present the dehumanization of the characters and the use of colonization as an excuse to perpetrate massacres.
From the first proletarian novel in Latin America (1933) that explores the reality of the worker woman, Oscar Murillo proposes a performatic action that questions issues fundamentals about work, femininity and violence across colonial to modern times. Written by Gabriela Galvao, activist belonging to the Anthropophagic movement of Brazil, Industrial Park tells the story of a woman whose body ends up being the territory in which different historical tensions of the processes of colonization in patriarchal and Judeo-Christian societies are violently manifested.
The continuous reading of this document that exceeds its historical value, generates in this exhibition a symbolic space for Murillo and Díaz to discuss with metaphysical tinges the constants concerns of their practices. Wilson Díaz, whose work flirts with multiple media and formats, uses the anecdote of a comic magazine produced by the Colombian army with the aim of seducing young men to join the ranks. In the comic, the enemy is represented by aliens invading the territory.
Both in the novel and in the comic the characters are subject to a process of dehumanization. In the case of Industrial Park, the workers -and specially the female workers- thanks to sophisticated manipulation processes, are separated from their essence and objectified (violent process in which the body is not perceived as a public space), while in the fanzine, the enemy is given monster qualities that work as ideological mitigations to excuse their extermination, the alien, politically persecuted is the stranger, the foreigner or simply the other.
In both cases, the remote dimension of the environment, either in the factory or in the rural areas of Colombia, allows those processes to remain invisible, and therefore, permissive to the atrocious. Cristóbal Colon defined the populations he found in the Caribbean as wild, as cannibals practicing anthropophagi, and this fantasy was one of the cultural representations that served as an excuse to perpetrate the massacres that framed the process of European colonization of America.
The class system in the novel is built to damage the bodies of the class worker and keep them in place for the benefit of bourgeois and parasitic bodies and, in the case of the fanzine the bodies are articulated from science fiction and they do not belong to this world.
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