Tierra \/ Earth<\/em>, 2013<\/strong> \u2013 \u00bfC\u00f3mo mataban gente? \u2013pregunt\u00f3 el fiscal. Guatemala vivi\u00f3 durante 36 a\u00f1os una de las m\u00e1s sangrientas guerras. Un genocidio, \u00e9ste dej\u00f3 m\u00e1s de 200,000 muertos. El ej\u00e9rcito que peleaba contra la insurgencia defini\u00f3 como enemigos internos a los ind\u00edgenas aduciendo que simpatizaban con la guerrilla y durante cruentos per\u00edodos se dedic\u00f3 a perseguirlos. Con la intenci\u00f3n de quedarse con las tierras (bajo la complaciente mirada de la oligarqu\u00eda nacional) y la justificaci\u00f3n de que los ind\u00edgenas eran enemigos de la patria, el Estado puso en pr\u00e1ctica la tierra arrasada. Esta fue una pr\u00e1ctica com\u00fan y caracter\u00edstica del conflicto armado guatemalteco. Tropas de soldados del ej\u00e9rcito y de las patrullas de defensa civil llegaba a las comunidades ind\u00edgenas y destru\u00edan cualquier cosa que pudiera serles de utilidad para sobrevivir: comida, ropa, cosechas, casas, animales, etc. Quemaba todo. Violaba, Torturaba. Asesinaba. Muchos cuerpos fueron enterrados en fosas comunes que hoy forman parte de la larga lista de evidencias que confirman el hecho.<\/p>\n El anterior testimonio narra una de las formas en que el Ej\u00e9rcito constru\u00eda las fosas previo a asesinar y tirar los cuerpos dentro y fue escuchado durante el juicio por genocidio contra R\u00edos Montt y S\u00e1nchez Rodr\u00edguez. Guatemala 2013.<\/p>\n \u201cHow did they kill people?\u201d, the public prosecutor asked.<\/em><\/p>\n \u201cFirst they ordered the machine operator, Officer Garc\u00eda, to dig a hole.<\/em><\/p>\n Then they parked lorries filled with people in front of El Pino and they filled the hole one by one. They didn\u2019t shoot them. Often they jabbed them with bayonets. They tore open the chests with bayonets, and carried them to the pit. When the pit was full they let the power shovel fall onto the bodies.\u201d<\/em><\/p>\n For 36 years Guatemala experienced one of its bloodiest wars. It was a genocide that left more than 200,000 people dead. The army that was fighting the insurgency described the indigenous people as internal enemies, claiming they were sympathisers with the guerrillas, and it spent several bloody periods of the war persecuting and murdering them. With the intention of taking their land (under the approving look of the countrys oligarchy), using as a justification the claim that the indigenous people were enemies of the fatherland, the state practised a \u2018tierra arrasada\u2019 (\u2018scorched earth\u2019) policy. This was a common practice, characteristic of Guatemala\u00b4s armed conflict. Troops of soldiers from the army and civil defense patrols would arrive in indigenus communities and destroy everything that people might need to survive: food, clothing, harvests, houses, animals, etc. They burnt everything. They raped. They tortured. They killed. A lot of bodies were buried in mass graves that today are part of the long list of evidences that confirm the facts.<\/p>\n This testimony tells one of the ways the army dug pits prior to killing people and then tipping the bodies into the pits. It was heard during the genocide trial of R\u00edos Montt and Mauricio Rodr\u00edguez S\u00e1nchez in Guatemala City in 2013.<\/p>\n <\/p>\n \u00bfQui\u00e9n puede borrar las huellas? \/ Who Can Erase The Traces?<\/em>, 2003<\/strong> Caminata de la Corte de Constitucionalidad hasta el Palacio Nacional de Guatemala, dejando un recorrido de huellas hechas con sangre humana, en memoria de las v\u00edctimas del conflicto armado en Guatemala, en rechazo a la candidatura presidencial del ex-militar, genocida y golpista Efra\u00edn R\u00edos Montt.<\/p>\n A walk from the Constitutional Court to the National Palace of Guatemala; leaving a trail of footsteps made with human blood. In memory of the victims of the armed conflict in Guatemala and in rejection of the presidential candidacy of the military, genocidal and former coup supporter Efra\u00edn R\u00edos Montt.<\/p>\n <\/p>\n Paisaje \/ Landscape<\/em>, 2012<\/strong> “El peligro de la belleza es su apariencia. Y el peligro del paisaje es que se traga la realidad – sublima la miseria<\/em>.” – Mario Monteforte Toledo<\/p>\n De espalda vemos la vida pasar. De espalda esperamos la muerte. De espaldas, junto a un hombre que excava una fosa, permanece de pie una mujer. Nunca se ven, \u00e9l cava un agujero, un vac\u00edo, ella recibe la tierra que empuja la pala hasta quedar enterrada.<\/p>\n \u201cThe danger of beauty is its appearance. And the danger of landscape is that it swallows reality<\/em> \u2013 she glorifies the misery.\u201d – Mario Monteforte Toledo<\/p>\n With our backs turned we see life pass by. With our backs turned we wait for death. With her back turned, next to a man who is digging a grave, stands a woman. They never see each other, he digs a hole, an empty space, she receives the earth thrown up by the shovel, until she is buried.<\/p>\n <\/p>\n Caparaz\u00f3n \/ Shell<\/em>, 2010<\/strong> El miedo en su forma sonora, en cada estallido, en cada golpe. Mi cuerpo desnudo permanece en posici\u00f3n fetal dentro de un domo blindada. Un grupo de individuos, armados con palos, golpea fren\u00e9ticamente el domo hasta destrozar sus propias armas.<\/p>\n Fear in its sonic form, in every explosion, in every hit. My naked body lies in a fetal position under a sealed dome. A group of people armed with sticks frantically beat the dome until their weapons are broken.<\/p>\n <\/p>\n Perra \/ Bitch<\/em>, 2005<\/strong> Escribo la palabra PERRA con un cuchillo sobre mi pierna derecha. Una denuncia de los sucesos cometidos contra mujeres en Guatemala, donde han aparecido cuerpos torturados y con inscripciones hechas con cuchillo o navaja.<\/p>\n I write the word PERRA (BITCH) with a knife on my right leg. In condemnation of the acts committed against women in Guatemala, where tortured bodies have appeared with inscriptions carved into them with the blades of knives.<\/p>\n <\/p>\n No perdemos nada con nacer \/ We don\u2019t loose anything by being born<\/em>, 2000<\/strong> Metida en una bolsa de pl\u00e1stico transparente, como un despojo humano soy colocada en el basurero municipal de Guatemala.<\/p>\n Put in a clear plastic bag, like human rubbish, I am placed in the dump of Guatemala City.<\/p>\n <\/p>\n Piel \/ Skin<\/em>, 2001<\/strong> Me rasuro absolutamente todos los pelos y cabello del cuerpo, camino asi por las calles de Venecia.<\/p>\n I shave off absolutely all the hair on my body; I walk through the streets of Venice like this.<\/p>\n <\/p>\n Hilo de tiempo \/ Thread of Time<\/em>, 2012<\/strong> Hay que ir hacia atr\u00e1s en el hilo del tiempo para encontrar la raz\u00f3n de tanta muerte y encontrar as\u00ed la vida. Mi cuerpo permanece oculto dentro de una bolsa tejida para cad\u00e1veres. El p\u00fablico es libre de ir deshilando la bolsa hasta descubrir el cuerpo.<\/p>\n You have to go back in time to find the reason for so much death and thus to find life. I remain hidden in a bag woven for corpses. The public is free to gradually unravel the bag until the body is uncovered.<\/p>\n <\/p>\n Falso le\u00f3n \/ False Lion<\/em>, 2011<\/strong> En el 2005, gano el Le\u00f3n de Oro como mejor artista menor de 35 a\u00f1os en la 51 Bienal de Venecia. En 2007 vendo el Le\u00f3n de Oro al artista espa\u00f1ol Santiago Sierra, quien a su vez lo revende a un coleccionista. En 2011 encargo una copia exacta del Le\u00f3n de Oro a mis amigos escultores, Angel y Fernando Poy\u00f3n de Guatemala. Ellos me entregan una copia exacta fundida en bronce con ba\u00f1o en oro guatemalteco.<\/p>\n In 2005 I won the Golden Lion as best artist under 35 years at the 51st Venice Biennale. In 2007 I sold the Golden Lion to Spanish artist Santiago Sierra, who in turn sold it to a collector. In 2011 I ordered an exact copy of the Golden Lion from my sculptor friends, Angel and Fernando Poy\u00f3n, in Guatemala. They gave me an exact copy, cast in bronze and coated in Guatemalan gold.<\/p>\n","protected":false},"excerpt":{"rendered":" Tierra \/ Earth, 2013 Photography, Video, 35:56 min Les Moulins, France \u2013 \u00bfC\u00f3mo mataban gente? \u2013pregunt\u00f3 el fiscal. \u2013 Primero ordenaban al operador de la m\u00e1quina, al oficial Garc\u00eda, que cavara un hoyo. Luego los camiones llenos de gente los parqueaban frente al Pino, y uno por uno, iban pasando. No les disparaban. Muchas veces …<\/a><\/p>\n","protected":false},"author":1,"featured_media":10487,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"mc4wp_mailchimp_campaign":[],"footnotes":""},"categories":[1],"tags":[178,180,134,148,186,182,179,181,183,165,176],"class_list":["post-28552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-quien-puede-borrar-las-huellas","tag-caparazon","tag-frankfurter-kunstverein","tag-franziska-nori","tag-mechanisms-of-power","tag-no-perdemos-nada-con-nacer","tag-paisaje","tag-perra","tag-piel","tag-regina-jose-galindo","tag-tierra"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/28552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/comments?post=28552"}],"version-history":[{"count":0,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/28552\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media\/10487"}],"wp:attachment":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media?parent=28552"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/categories?post=28552"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/tags?post=28552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nPhotography, Video, 35:56 min<\/strong>
\nLes Moulins, France<\/strong><\/p>\n
\n\u2013 Primero ordenaban al operador de la m\u00e1quina, al oficial Garc\u00eda, que cavara un hoyo. Luego los camiones llenos de gente los parqueaban frente al Pino, y uno por uno, iban pasando. No les disparaban. Muchas veces los puyaban con bayoneta. Les arrancaban el pecho con las bayonetas, y los llevaban a la fosa. Cuando se llenaba la fosa dejaban caer la pala mec\u00e1nica sobre los cuerpos.<\/em><\/p>\n
\nVideo, 37:30 min<\/strong>
\nCiudad de Guatemala, Guatemala<\/strong><\/p>\n
\nPhotography, Video, 24:50 min<\/strong>
\nBiennal de Arte Paiz, Ciudad de Guatemala, Guatemala<\/strong><\/p>\n
\nPhotography, Video, 5:37 min<\/strong>
\nMADRE. Museo D\u2019Arte Contemporane Donna Regina, Napoli, Italia<\/strong><\/p>\n
\nPhotography, Video, 5:25 min<\/strong>
\nPrometeo Gallery, Milano, Italia<\/strong><\/p>\n
\nPhotography, Video, 2:04 min<\/strong>
\nSegundo Festival del Centro Hist\u00f3rico, Guatemela<\/strong><\/p>\n
\nPhotography, Video, 14:46 min<\/strong>
\n49. Bienale di Venezia, Venezia, Italia<\/strong><\/p>\n
\nVideo, 18:30 min<\/strong>
\nSan Crist\u00f3bal de las Casas, Chiapas, M\u00e9xico<\/strong><\/p>\n
\nGuatemalan Gold<\/strong><\/p>\n