he photographs the certainty that murder exists, and that some get rich with the pain of others. But he leaves one of those angles empty to visually expose only the victims, creating a nonreflecting vision of the tearing that poses that every register will be incomplete.
Small populations bombarded, bodies tormented with the force of weapons, men and women in uniform, and many children crying. Such is the grammar, the discourse that reinforces itself in a country where the naturalization of violence borders with ignorance towards history.
So what kind of memory is established through photography? A memory for whom and told in what manner? The thinkers will answer if they are not betrayed by a sectary position, more so if we think that anyone who takes a part in war is wrong, even though his causes may be just.
Art can liberate the barrier of immediacy
Jesús Abad Colorado