COLOMBIA, TIERRA DE LUZ (Land Of Light)
OF LIGHT AND THE LUMINOUS
From 2009 to present, Colombia, Tierra de Luz (Land of Light) set out to perform a series of symbolic acts in the reparation of victims of violence and of forced displacement during the armed conflict in various locations of Colombia, by way of photography and art interventions.
The project used light as a material and narrative element in the reconfiguration of the notion of reparation. As a material element, light presents itself as a visual resource that underlines space, texture, the form of landscape, bodies, and architecture. As a narrative element, the project benefits from light’s symbolic value in association to tranquility and hope, as much as unity and spirituality.
Photography depends on light for its materialization. It was also light, reflected on objects and on people, that bound together the mobilization of communities in conflict zones. Meanwhile, public talks and workshops on collective memory, poetry, singing, and myths were taking place.
With every chapter of the project the following elements unfolded in continuous change and in combinatorial fashion: actions, people, places, materials, partners, resources, meaning, themes, symbolisms, and light sources (fire, torches, candles, flashlights, cellphones, flash units, LED tapes, etc.).
The distinction between action and intervention comes to the fore in every one of these chapters: the latter is understood from the perspective of the performative and the former is understood from its use in architecture, urbanism, and sculpture.
Indigenous and campesino families, along with former combatants and personnel of the national armed forces, participated in each intervention in the process of building and of illuminating objects and setting up portraits. The final product – a framed picture – was delivered to them as a memorial to be hung on the walls of their homes.
NOTE: The texts on every chapter act as a project’s logbook, detailing the creative and interactive process with participants, along with complementary information displayed on the cartographic indexes. Lastly, a dossier made up of critical revisions counts with the point of view of guest authors.
From 2009 to present, Colombia, Tierra de Luz (Land of Light) set out to perform a series of symbolic acts in the reparation of victims of violence and of forced displacement during the armed conflict in various locations of Colombia, by way of photography and art interventions.
The project used light as a material and narrative element in the reconfiguration of the notion of reparation. As a material element, light presents itself as a visual resource that underlines space, texture, the form of landscape, bodies, and architecture. As a narrative element, the project benefits from light’s symbolic value in association to tranquility and hope, as much as unity and spirituality.
Photography depends on light for its materialization. It was also light, reflected on objects and on people, that bound together the mobilization of communities in conflict zones. Meanwhile, public talks and workshops on collective memory, poetry, singing, and myths were taking place.
With every chapter of the project the following elements unfolded in continuous change and in combinatorial fashion: actions, people, places, materials, partners, resources, meaning, themes, symbolisms, and light sources (fire, torches, candles, flashlights, cellphones, flash units, LED tapes, etc.).
The distinction between action and intervention comes to the fore in every one of these chapters: the latter is understood from the perspective of the performative and the former is understood from its use in architecture, urbanism, and sculpture.
Indigenous and campesino families, along with former combatants and personnel of the national armed forces, participated in each intervention in the process of building and of illuminating objects and setting up portraits. The final product – a framed picture – was delivered to them as a memorial to be hung on the walls of their homes.
NOTE: The texts on every chapter act as a project’s logbook, detailing the creative and interactive process with participants, along with complementary information displayed on the cartographic indexes. Lastly, a dossier made up of critical revisions counts with the point of view of guest authors.
Publisher: Editorial Universidad de Caldas
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