The structure built wooden crates, unlike what tells the story of the Odyssey, contains in its interior artwork, produced by academic and cultural Argentines suffered exile during the most violent years of the last military dictatorship. Today, 35 years of the coup that left a deep wound in the history of our country, two fellow Mexicans were ordered to repay some of those pieces produced by hundreds of rioplatenses pushed to live in remote areas to the ground where they were born. Sabatés
By Paula Frederick Stock Feulliade
Moscoso Buenos Aires, March 25 (agency NAN-2011) .- "With the grateful hope for a safe return to their homes after an absence of nine years, the Greeks dedicate this offering to Athena," read the left side of the Horse Trojan, this monumental gadgets as the Greeks devised to destroy his enemy city after years of violent war. If we change those nine years to thirty-five, to the Greeks by the Mexicans, and revenge for a noble gesture of brotherhood, we find The Horse of the Argentine exile in Mexico or Argenmex Horse, a style structure the legendary horse, draft Yamina Mexican artists of the Royal and Roland Rose, built with wooden crates containing all the artistic work produced by academic and cultural Argentine exiles in Mexico during the last military dictatorship. "The work gives back much to Argentina. Materially, because we bring important productions. And symbolically, because this is a job that should have occurred here and it was there, "says the agency NAN de la Rosa, which he accused has nine horses in various social struggles.
The Horse made its formal presentation on Wednesday in the academic campus of the Universidad Nacional de Lanús (UNLa) and rode up yesterday at the National Day Memory for Truth and Justice. Their riders were Argenmex themselves, who proudly pulled the reins while horns sounded their daughters songs of exile, some remembered and others discovered. "We felt a pending issue that all this production back to Argentina and build the project considering the Argentines who stayed here were to march to feel proud to see everything their compatriots occurred during his absence," says Yamina del Real, photographer, writer and researcher Mexican who lived in Argentina for six years, where he says failed to connect with the people who now honors from his art. The structure will now continue travel and for the next 35 days will be exhibited in Buenos Aires as part of contemporary art. The material will be in the center of studies of the Mexico-Argentina UNLa, which may be consulted.
Among the materials - which include artwork, audiovisual, writing and research - are from a book of poems written anonymous prisoners in the jails, a documentary about a missing child who was exiled and documentaries on the Triple A , to studies of Professors Néstor García Canclini and Pilar Calveiro. "All this work, even when it comes to academics, is permeated by the pain of exile, the struggle for survival by ideas, freedom and security that is worth continuing to fight for a better country. Because, even if you're isolated, you are your work history, "muses the artist. Is that the project "creates an open channel of communication between the two Argentinas, the geographical and imagined, that in the end they are still others that same as in 1976 left him no choice but to hide some other flags to think what they wanted to think but, fundamentally, not to die in oblivion. "Bringing the horse full of that production is to give tangibility to the acculturation process that caused the exile, because what the Argentineans were created here during the dictatorship is another thing altogether to which exiled Argentines did, "says Real.
The sculpture took only 20 days to take shape and was made possible through the support of the Embassy of Argentina in Mexico and the UNLA. It has four feet, four inches less than the maximum height allowed to pass through tolls Buenos Aires. For de la Rosa, "the horse as an animal has a tradition of strong social control, and this time lets unite two peoples which in itself is very fond of using an artistic work and not by a government measure or agreement between embassies. " The artist has already planned a series of documentaries produced by xy ArgenMe they plan to walk the material around the country before the final receipt Suburbs. "The important thing to bring is not to be saved is to be broadcast," said the sculptor, who also made small models, replicas, one of which has already been delivered to the holder of the Grandmothers of Plaza de Mayo, Estela de Carlotto.
"The maximum value that we try to highlight the solidarity, to show how a country opens its doors to people who can not follow in his, and how it operates beyond governments. Because we call on all people who were exiled, and do not know if they were Peronist montoneros or were nothing, "points of Real, making clear that, even if it contains the Argentine hands sweat, the Argenmex bicultural certainly is a horse created by people split into two, with the penalty of those who are forced to leave their place - note the foot many Argentine artists would not participate in the project because they felt that in Argentina are well regarded for having "escaped" (sic) - and thanks to a people who received no buts. And proving that the horse may be the strongest of all, the only land he rides really makes it clear that anyone, if you will, can be a land of all.
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