GUATEMALA
"JUNE 30, 2000", 2000
(Action and Photo documentation)
ARTIST'S MATERIAL:
[ENGLISH]
In Guatemala, the military is currently being indicted for the massacres and crimes it has committed against humanity. Well known, for example, are the charges made by Rigoberta Menchú in England and Spain.
Last year, I organized an art action in which I scattered the contents of ten large sacks of coal across the main boulevard in the center of Guatemala City, on which a military parade was to take place. Unfortunately, the photo documentation that I have from this day is not very good, because there was great fear and paranoia. Altogether there are 180 photos, but I am only showing 25 or 26 here at the Biennale. The idea of this action is to remind the military of the many crimes it has committed. There is a close relationship namely, between the coal, the massacres, and the military, because this material can always be found in the mass graves. In most cases, houses and corpses are burned.
I knew that the coal would be cleared away before the parade. I scattered it at about two o'clock in the morning, and at seven o'clock it had already been removed. But there were still traces left. I wanted the military to walk over these traces, and to be able to take photos of the marching army. Since I work with signs that have somehow established themselves, in this case the coal that points to the massacres and the mass graves, I refer with the action to existing problems, without becoming too obvious. It wasn't my intention for the spectators to perceive these signs, but rather that the military itself should notice them.
In a few of the photos one can also see the »Kaibiles«, an elite force which, as far as I know, is meant to be the second most bloodthirsty in the world. They are supposed to have fought in Iraq, for example, and in other wars. The training for the Kaibiles is very hard. People say that they are dropped in the middle of the jungle in Petén, without food and only in the company of a dog, with the orders to reach a certain meeting point. If they make it there with the help of the dog, they have to eat it. It's horrible, and there are thousands of stories which one doesn't know if they're true or only legends. Truth is, however, that these troops were substantially involved in the operations against the guerillas. The name »kaibil« appears in the Popul Vuh, the sacred book of the Mayans, which by the way, is the ethnic group from which the Kaibiles have killed the most people.
The military has informants in the political parties and in the government, they meddle in everything, but they don't know anything about me. I can plan an action like this and they don't know where it comes from, because I prepare it carefully and carry it out as a surprise. But the fact is, I was unable to photograph a few scenes out of fear.
I don't think it's advisable to show these photos in Guatemala. Not so much because of me, as there are many institutions that support me, but rather because of the people that help me. I think it would be too dangerous... Maybe in the future, but that doesn't really make much sense because it's not the intent of the work. The goal in this case, for example, is for the military itself to notice something. The documentation of the action only serves to sell the photos overseas, in order to finance further actions of this kind. I'm not interested in creating pieces for galleries, but for a specific audience and a particular purpose. I prefer to provoke phenomena in order to cause specific experiences for my target audience, experiences which could lead to reflection and action.
[CURATORSHIP TXT EXTRACT]
Anibal Lopez also executes his work in public spaces but without the guidelines of festivals or official agendas. The Guatemalan artist – who signs his works with the inscription A-1 53167, a reference to his ID registration – realises clandestine acts that disrupt order and place into question freedom of expression and the limits between art and activism. His work 30 de Junio, 2000 (2000) took place in the space of one day, combining urban intervention and photography. In a rapid nocturnal operation, A-1 53167 spread the contents of ten sacks of coal across the principal avenue in downtown Guatemala City where a military procession was programmed to take place the following day. Despite the coal having been removed, a black stain remained on the road. The boots of the marching soldiers inadvertently spread the coal dust and the resulting trail created by their footsteps was recorded on his camera. In this way the artist produced a work not involving actors or spectators, but the very military forces of Guatemala – responsible for repression and violence against the population during almost forty years of civil war. The choice of coal owes itself not only to the fact that it served as “ink” for the soles of the soldiers’ boots. As the artist explains, coal can be found in mass graves and the houses and bodies burnt by death squads connected to the military. By introducing coal to the parade site, A-1 53167 produced a counter surveillance action that reveals acts the state prefers to conceal.
[TXT CURADORIA TRECHO]
Aníbal Lopez também executa sua obra na rua, mas sem o enquadramento do festival ou a chancela de uma agenda oficial. O artista guatemalteca - que assina seus trabalhos com a inscrição A-1 53167, uma referência ao seu registro de identidade - realiza ações clandestinas que perturbam a ordem e colocam em questão a liberdade de expressão e os limites entre arte e ativismo. 30 de Junio, 2000 (2000) é um trabalho que se realiza no espaço de um dia, combinando intervenção urbana e registro fotográfico. Durante uma rápida ação noturna, A-1 53167 espalha o conteúdo de 10 sacos de carvão na principal avenida no centro da Cidade da Guatemala, para onde estava programada, no dia seguinte, uma parada militar. Ainda que o carvão tenha sido retirado do local antes do início do desfile, uma borra permanece no chão. E é sobre este resíduo que as tropas irão inadvertidamente marchar, produzindo um rastro de pegadas em uma performance registrada por sua câmera fotográfica. Desta forma o artista produz uma obra constituída por vestígios não de atores ou espectadores, mas das forças militares da Guatemala – responsáveis pela repressão violenta infringida à população em quase 40 anos de guerra civil. A escolha do carvão não se deve somente às suas propriedades particulares para carimbar as botas dos soldados. Como esclarece o artista1, o carvão pode ser encontrado nas covas coletivas e nas casas e corpos queimados pelos grupos de extermínio associados ao poder militar. Trazer o carvão para a cena do desfile produz uma ação de contra-vigilância que revela, simbolicamente, fatos que o Estado teria preferido ocultar.
BIO
Aníbal López (A-1 53167), full name Juarez Aníbal Asdrubal López, (born April 13, 1964) is an artist and a native of Guatemala. He began his career creating figurative artinfluenced by expressionism. He has worked in several media, including acrylic and oil on canvas, photography, and video. In the 1990s he and other Guatemalan artists such asRegina José Galindo began creating art "actions" or live art, a combination of street art,performance art, minimalism, and conceptual art. A-1 53167 is the code name (his Guatemalan ID card number) that Aníbal López has used since 1997 to sign many of his art actions, a gesture intended to question codes of information used to establish identity, such as one's name. The effect is to erase an ethnic-specific sense of belonging and perhaps to resist the impulse of art consumers to categorize him in preconceived categories such as indigenous, Mayan, or Guatemalan. Aníbal López (or A-1 53167) creates street interventions that combine the rationalist detachment of conceptual art with the political bravado of Latin American guerrilla fighters. In "El Préstamo" ("The Loan"), a gun-toting A-1 53167 staged an armed robbery by attacking an unwitting passer-by. The stolen money was used to fund an exhibition at the "Contexto" art space, thus transforming the victim into an art sponsor and the spectator into an accomplice in the event.
source: Facebook Español
