like a thread leading unto life again. Seven survivors of killings tell their stories singing, their faces in a close-up seeing the spectator, singing for him. These people created their own songs. They dwell in places far from the main urban centers, places where the population is majorly black and mulatto, where the most emblematic musical genres of the country are usually originated. Echavarría binds these personal fragments of destruction in a way the media has never tried. You could say that reality told this way hurts, but it also moves, for its desolating beauty.
Juan Fernando Herrán( Bogotá, 1963) is a photographer who seeks to familiarize with the object, a photographic sculptor that seeks objects and, through them, the complexities of collective life about which he likes to talk. The author shoots objects that already have a history and that embodied profound mental processes in the subjects that elaborated them. The power of his images rests, then, in the stories told silently by those objects, in the ways that evidence the actions that happen through them.
In Campo Santo( 2006), Herrán registers violence through a minimal fixed gesture: crosses made spontaneously by the grieving in a communion
Juan Manuel Echavarría, Bocas de Ceniza
70 LARMAGAZINE. 011