documentary and expiatory senses of the photographic act. From its inception, photography has been linked to the act of killing – it is not a coincidence that the sound made by the camera is called“ a shot”–, making place to a great amount of possible associations. Thus, the photographic suspension of time represents a double death, concerning the images of murdered people.
The photojournalistic precedents of violence in Colombia and Mexico have transformed their aesthetics and the appearance of their protagonists. The War of A Thousand Days( 1899- 1901) and the Mexican Revolution( 1910-1920) displayed organized contenders posing for the camera in the middle of mostly rural landscapes; the Bogotazo( 1948) showed angry mobs that battered the capital city with their clubs and machetes; the bipartisan Violence( 1946-1966) revealed the horror produced by both sides in
Violence born from drug-trafficking has produced photographic works that assume the body as a sign, symptom and manifestation of social turbulence the Colombian fields; drugrelated terrorism( 1984- 1993), defined by assassinations and attacks to the civil population in Colombia, showed urban spaces shaken by bombs; the confrontation between guerillas, paramilitary movements and order forces( 1964 to date) reveals sides with similar uniforms, and destroyed towns and ecosystems; war between Mexican cartels and enforcers( 2006 to date) shows detained and executed state armies.
Violence born from drug-trafficking has produced photographic works that assume the body as a sign, symptom and manifestation of social turbulence, a metaphor of power, an exposed territory to the unfortunate shock actions.
Foucalt says that the relationships of power act upon the body, transforming it; we will speak then, majorly, of a body deformed, displaced and disappeared. www. LivingArtRoom. com 65