Colombia

Colombia land of light

ZoneZero

stdClass Object ( [type_alias] => com_content.article [content_item_id] => 299 [core_content_id] => 166 [match_count] => 1 [tag_date] => 2015-10-01 13:45:16 [core_title] => Colombia land of light | Interview with Santiago Escobar-Jaramillo [core_params] => {"show_title":"","link_titles":"","show_tags":"","show_intro":"","info_block_position":"","show_category":"","link_category":"","show_parent_category":"","link_parent_category":"","show_author":"","link_author":"","show_create_date":"","show_modify_date":"","show_publish_date":"","show_item_navigation":"","show_icons":"","show_print_icon":"","show_email_icon":"","show_vote":"","show_hits":"","show_noauth":"","urls_position":"","alternative_readmore":"","article_layout":"","show_publishing_options":"","show_article_options":"","show_urls_images_backend":"","show_urls_images_frontend":"","enable_artofcomments":""} [core_alias] => colombia-land-of-light [core_body] =>

Colombia land of light, consists in a series of symbolic acts of support for victims of violence and those who are displaced in different parts of Colombia, through the medium of photography and art. It is a voice which confronts all the silence and lack of interest in those that have been marginalised and affected by the armed conflict after more than half a century. The selection of locations for the intervention reflects Colombia's rich variety of multicultural groups, regions, landscapes, climate, historical context, traditions and celebrations, geopolitics, as well as social problems and different armed groups.

Santiago EscobarSantiago Escobar-Jaramillo (Colombia, 1982). Has worked as a photographer and artist in several African, Asian, South-American, European countries and in the United States. His creative work consists of artistic, documentary and urban photography, and reflects on the individual, space, conflict and memory, using a rigorous conceptual and geometrical aesthetic. His work has been shown, nationally and internationally, in over 60 solo and group exhibition, and he has received various awards and distinctions.

[core_state] => 1 [core_access] => 1 [core_metadata] => {"robots":"","author":"ZoneZero","rights":"","xreference":""} [core_created_user_id] => 838 [core_created_by_alias] => [core_created_time] => 2015-06-04 14:00:24 [core_images] => {"image_intro":"images\/categories\/collective-representation\/escobar.jpg","float_intro":"","image_intro_alt":"","image_intro_caption":"","image_fulltext":"images\/categories\/collective-representation\/escobar.jpg","float_fulltext":"","image_fulltext_alt":"","image_fulltext_caption":""} [core_modified_time] => 2015-10-01 18:45:16 [core_language] => en-GB [core_catid] => 59 [core_publish_up] => 2015-06-04 14:00:24 [core_publish_down] => 0000-00-00 00:00:00 [content_type_title] => Article [router] => ContentHelperRoute::getArticleRoute [author] => Elisa Rugo [author_email] => elisa@zonezero.com [link] => index.php?option=com_content&view=article&id=299:colombia-land-of-light [displayDate] => 2015-06-04 14:00:24 [event] => stdClass Object ( [afterDisplayTitle] => [beforeDisplayContent] => [afterDisplayContent] => ) [text] =>

Colombia land of light, consists in a series of symbolic acts of support for victims of violence and those who are displaced in different parts of Colombia, through the medium of photography and art. It is a voice which confronts all the silence and lack of interest in those that have been marginalised and affected by the armed conflict after more than half a century. The selection of locations for the intervention reflects Colombia's rich variety of multicultural groups, regions, landscapes, climate, historical context, traditions and celebrations, geopolitics, as well as social problems and different armed groups.

Santiago EscobarSantiago Escobar-Jaramillo (Colombia, 1982). Has worked as a photographer and artist in several African, Asian, South-American, European countries and in the United States. His creative work consists of artistic, documentary and urban photography, and reflects on the individual, space, conflict and memory, using a rigorous conceptual and geometrical aesthetic. His work has been shown, nationally and internationally, in over 60 solo and group exhibition, and he has received various awards and distinctions.

[jcfields] => Array ( ) ) 1

Streaming with Jorge Panchoaga

ZoneZero

stdClass Object ( [type_alias] => com_content.article [content_item_id] => 167 [core_content_id] => 32 [match_count] => 1 [tag_date] => 2015-06-10 15:53:24 [core_title] => Streaming with Jorge Panchoaga [core_params] => {"show_title":"","link_titles":"","show_tags":"","show_intro":"","info_block_position":"","show_category":"","link_category":"","show_parent_category":"","link_parent_category":"","show_author":"","link_author":"","show_create_date":"","show_modify_date":"","show_publish_date":"","show_item_navigation":"","show_icons":"","show_print_icon":"","show_email_icon":"","show_vote":"","show_hits":"","show_noauth":"","urls_position":"","alternative_readmore":"","article_layout":"","show_publishing_options":"","show_article_options":"","show_urls_images_backend":"","show_urls_images_frontend":"","enable_artofcomments":""} [core_alias] => streaming-with-jorge-panchoaga [core_body] =>

Jorge Panchoaga presents his book La Casa Grande. Streaming within the Storytelling & New Media Diploma at Fundación Pedro Meyer's Campus Virtual, November 2013

Jorge panchoagaJorge Panchoaga (Colombia, 1984). Lives and works in Colombia. He teaches the specialization in Photography at the Arts Faculty of the Universidad Nacional de Colombia. As a photographer, his interests focus on socio-cultural issues of identity, memory, language, cultural change following conflict and man’s relationship with the landscape. He graduated in Anthropology from the Universidad de Cauca. He is a photography specialist at the Universidad Nacional de Colombia. He is an X-photographer at Fujifilm Colombia, and belongs to the +1 Photography Collective. His work is available at: www.panchoaga.com
[core_state] => 1 [core_access] => 1 [core_metadata] => {"robots":"","author":"ZoneZero","rights":"","xreference":""} [core_created_user_id] => 841 [core_created_by_alias] => [core_created_time] => 2014-06-20 17:00:00 [core_images] => {"image_intro":"images\/categories\/zonezero-3\/videos.jorge-panchoaga.jpg","float_intro":"","image_intro_alt":"","image_intro_caption":"","image_fulltext":"images\/categories\/zonezero-3\/videos.jorge-panchoaga.jpg","float_fulltext":"","image_fulltext_alt":"","image_fulltext_caption":""} [core_modified_time] => 2015-06-10 19:53:24 [core_language] => en-GB [core_catid] => 42 [core_publish_up] => 2014-06-20 17:00:00 [core_publish_down] => 0000-00-00 00:00:00 [content_type_title] => Article [router] => ContentHelperRoute::getArticleRoute [author] => Luis Hernández [author_email] => luischompe@gmail.com [link] => index.php?option=com_content&view=article&id=167:streaming-with-jorge-panchoaga [displayDate] => 2014-06-20 17:00:00 [event] => stdClass Object ( [afterDisplayTitle] => [beforeDisplayContent] => [afterDisplayContent] => ) [text] =>

Jorge Panchoaga presents his book La Casa Grande. Streaming within the Storytelling & New Media Diploma at Fundación Pedro Meyer's Campus Virtual, November 2013

Jorge panchoagaJorge Panchoaga (Colombia, 1984). Lives and works in Colombia. He teaches the specialization in Photography at the Arts Faculty of the Universidad Nacional de Colombia. As a photographer, his interests focus on socio-cultural issues of identity, memory, language, cultural change following conflict and man’s relationship with the landscape. He graduated in Anthropology from the Universidad de Cauca. He is a photography specialist at the Universidad Nacional de Colombia. He is an X-photographer at Fujifilm Colombia, and belongs to the +1 Photography Collective. His work is available at: www.panchoaga.com
[jcfields] => Array ( ) ) 1

Instant, infinity and movement

Melissa Valenzuela y Ehekatl Hernández

stdClass Object ( [type_alias] => com_content.article [content_item_id] => 163 [core_content_id] => 35 [match_count] => 1 [tag_date] => 2016-01-05 12:52:36 [core_title] => Instant, infinity and movement | Explorations and definitions of the animated GIF [core_params] => {"show_title":"","link_titles":"","show_tags":"","show_intro":"","info_block_position":"","show_category":"","link_category":"","show_parent_category":"","link_parent_category":"","show_author":"","link_author":"","show_create_date":"","show_modify_date":"","show_publish_date":"","show_item_navigation":"","show_icons":"","show_print_icon":"","show_email_icon":"","show_vote":"","show_hits":"","show_noauth":"","urls_position":"","alternative_readmore":"","article_layout":"","show_publishing_options":"","show_article_options":"","show_urls_images_backend":"","show_urls_images_frontend":"","enable_artofcomments":""} [core_alias] => instant-infinity-and-movement [core_body] =>

Photography has modified not only its devices for recording images but also its range of subjects and of course its means of dissemination. Traditional media such as paper and books were taken over a long time ago by their digital counterparts, which enable thousands of images to be shared on the Internet and mobile devices every day. As time went by and technology evolved, graphic formats emerged with a distinct advantage in terms of image quality, the use of animations and the layer of interaction. Many of these, such as Flash technology, were at first innovative and widely used, but rapidly replaced.

In this context, one of the formats that has existed alongside the Web since its inception, and remains popular, is GIF (Graphic Interchange Format), a form of technology developed in 1987 by the company CompuServe. Long before screen and monitor resolution brought viewers thousands or even millions of colors with sophisticated compression algorithms, such as JPGs or PNGs, the GIF already enabled graphics of a maximum of 256 colors to be inserted. A few years later, an improvement allowed more than one graph to be incorporated sequentially, and for the first time modest animations could be created on the emerging Web, with low weight and rapid display without extra plug-in. And so the ANIMATED GIF was born.


phena head bash HQ

Other formats have gradually fallen into disuse because of incompatibility with new devices, their high processing requirements for proper display and visualization, or their reliance on complex tools to add animation and interactivity. Meanwhile, the GIF has continued to function, thanks to its flexibility and compatibility with many different systems, browsers and even mobile devices. As a result, it has been widely used recently, and is no longer limited to publicists and marketers.

In this context, and as part of the current trend towards immediacy, GIF has established itself as an interesting tool for visual expression and experimentation, because of its particular technical, communicative and expressive qualities. Indeed, ANIMATED GIFs enable users to create authentic moving photographs that record short, repetitive actions. Reproduction in a loop (infinite repetition) emphasizes the idea of the redundancy of the moment, and consequently the instant grows, completes the action and highlights it. Time is no longer suspended for eternity, but is now redundant. This is the case of the so-called “Cinemagraph”, a variation of the animated GIF in which movement is restricted to an area or specific element of the shot. GIFs do not attempt to freeze the instant and instead insist on it, expressing itself time and time again in the image.

cinemagraph-gifs-leon-the-professional   

This narrows the gap between photography, cinema and video. These frames in movement allude to the first cinematographic films by the Lumière brothers, which captured instants of an action and reproduced the sequence to emulate movement. Unlike that era, viewers are currently not only accustomed to images but oversaturated with them. Observation is no longer guided by surprise, but by identification with an instant that is indefinitely prolonged.

melies-131-gif  tumblr mly5nhDL9M1rwe5aro1 250  tumblr m0l9f3fa4o1qg6rkio1 500

In contrast with the visual quality of cinema and photography, ANIMATED GIFs remind us of the texture of the first video cameras, a pastel-colored, poor quality image lacking depth. Cinema and photography maintain a certain expressive and visual independence from video and GIF. Those media refer to different concepts, as they have varied methods of dissemination and a different form of interaction with the viewer. They establish a relationship with an active spectator who repeatedly gives meaning to the image, reconstructing and reinterpreting in accordance with various factors that range from perception and the relation of each person to time, to external factors such as interface and the device supporting the image.

tumblr ljzitm3qHY1qzkq51o1 r1 500 

And yet, the contents manipulated by GIFs often draw on images extracted specifically from photographs, films or videos, and treated to emphasize a concrete action or some elements in movement. GIF narratives are ephemeral but reiterative, describing the instant and action, delving into content and the capacity for seduction and transmitting ideas and feelings. Indeed, action in movement is always the backbone of a visual construction charged with meanings.

Not surprisingly, this digital format is currently being explored by visual artists and photographers, to produce images in movement as an alternative to the formulas of cinema, video or animation shots. Though it may seem complex to understand the spectrum in which the ANIMATED GIF exists, the format has transformed its limited scope in the use of time into its greatest asset, with extensive expressive and conceptual possibilities. It also provides guidelines to redefine the notions and concepts, even at a theoretical level, involved in the constant evolution of photography, which will certainly not be the same in years to come.

 

Giuseppe Lo Schiavo  urbano  bill-429

 

 

Melissa ValenzuelaMelissa Valenzuela (Colombia, 1982). Lives and works in Mexico City. She holds a Masters’ Degree in Visual Arts from the Escuela Nacional de Artes Pláticas at the Universidad Nacional Autónoma de México (UNAM), and studied Audiovisual Communication at the Pontificia Universidad Javeriana de Bogotá. Valenzuela is an artist, and her work consists of self-portraits and recollections that address various nuances of perception, representation and memory. She also works in curatorship and education to integrate her artistic and research work..
 
Ehekatl HernándezEhekatl Hernández (México, 1975).received a Bachelor’s Degree in Graphic Design from the Escuela Nacional de Artes Plásticas at UNAM in Mexico, and a Master’s Degree in Multimedia Applications from the Universidad Poltécnica de Catalunya in Spain. He has over 15 years’ experience in graphic design and planning, developing and implementing web projects. Hernández has given diploma courses in web design at UNAM. He has spent nine years contributing to the web design and multimedia area at zonezero.com, and also works as a consultant for various companies as well as coordinating the e-learning system of the Virtual Campus of the Pedro Meyer Foundation.
[core_state] => 1 [core_access] => 1 [core_metadata] => {"robots":"","author":"Melissa Valenzuela y Ehekatl Hernández","rights":"","xreference":""} [core_created_user_id] => 838 [core_created_by_alias] => [core_created_time] => 2014-06-19 17:00:00 [core_images] => {"image_intro":"images\/categories\/zonezero-3\/articles.gifs.gif","float_intro":"","image_intro_alt":"","image_intro_caption":"","image_fulltext":"images\/categories\/zonezero-3\/articles.gifs.gif","float_fulltext":"","image_fulltext_alt":"","image_fulltext_caption":""} [core_modified_time] => 2016-01-05 18:52:36 [core_language] => en-GB [core_catid] => 42 [core_publish_up] => 2014-06-19 17:00:00 [core_publish_down] => 0000-00-00 00:00:00 [content_type_title] => Article [router] => ContentHelperRoute::getArticleRoute [author] => Elisa Rugo [author_email] => elisa@zonezero.com [link] => index.php?option=com_content&view=article&id=163:instant-infinity-and-movement [displayDate] => 2014-06-19 17:00:00 [event] => stdClass Object ( [afterDisplayTitle] => [beforeDisplayContent] => [afterDisplayContent] => ) [text] =>

Photography has modified not only its devices for recording images but also its range of subjects and of course its means of dissemination. Traditional media such as paper and books were taken over a long time ago by their digital counterparts, which enable thousands of images to be shared on the Internet and mobile devices every day. As time went by and technology evolved, graphic formats emerged with a distinct advantage in terms of image quality, the use of animations and the layer of interaction. Many of these, such as Flash technology, were at first innovative and widely used, but rapidly replaced.

In this context, one of the formats that has existed alongside the Web since its inception, and remains popular, is GIF (Graphic Interchange Format), a form of technology developed in 1987 by the company CompuServe. Long before screen and monitor resolution brought viewers thousands or even millions of colors with sophisticated compression algorithms, such as JPGs or PNGs, the GIF already enabled graphics of a maximum of 256 colors to be inserted. A few years later, an improvement allowed more than one graph to be incorporated sequentially, and for the first time modest animations could be created on the emerging Web, with low weight and rapid display without extra plug-in. And so the ANIMATED GIF was born.


phena head bash HQ

Other formats have gradually fallen into disuse because of incompatibility with new devices, their high processing requirements for proper display and visualization, or their reliance on complex tools to add animation and interactivity. Meanwhile, the GIF has continued to function, thanks to its flexibility and compatibility with many different systems, browsers and even mobile devices. As a result, it has been widely used recently, and is no longer limited to publicists and marketers.

In this context, and as part of the current trend towards immediacy, GIF has established itself as an interesting tool for visual expression and experimentation, because of its particular technical, communicative and expressive qualities. Indeed, ANIMATED GIFs enable users to create authentic moving photographs that record short, repetitive actions. Reproduction in a loop (infinite repetition) emphasizes the idea of the redundancy of the moment, and consequently the instant grows, completes the action and highlights it. Time is no longer suspended for eternity, but is now redundant. This is the case of the so-called “Cinemagraph”, a variation of the animated GIF in which movement is restricted to an area or specific element of the shot. GIFs do not attempt to freeze the instant and instead insist on it, expressing itself time and time again in the image.

cinemagraph-gifs-leon-the-professional   

This narrows the gap between photography, cinema and video. These frames in movement allude to the first cinematographic films by the Lumière brothers, which captured instants of an action and reproduced the sequence to emulate movement. Unlike that era, viewers are currently not only accustomed to images but oversaturated with them. Observation is no longer guided by surprise, but by identification with an instant that is indefinitely prolonged.

melies-131-gif  tumblr mly5nhDL9M1rwe5aro1 250  tumblr m0l9f3fa4o1qg6rkio1 500

In contrast with the visual quality of cinema and photography, ANIMATED GIFs remind us of the texture of the first video cameras, a pastel-colored, poor quality image lacking depth. Cinema and photography maintain a certain expressive and visual independence from video and GIF. Those media refer to different concepts, as they have varied methods of dissemination and a different form of interaction with the viewer. They establish a relationship with an active spectator who repeatedly gives meaning to the image, reconstructing and reinterpreting in accordance with various factors that range from perception and the relation of each person to time, to external factors such as interface and the device supporting the image.

tumblr ljzitm3qHY1qzkq51o1 r1 500 

And yet, the contents manipulated by GIFs often draw on images extracted specifically from photographs, films or videos, and treated to emphasize a concrete action or some elements in movement. GIF narratives are ephemeral but reiterative, describing the instant and action, delving into content and the capacity for seduction and transmitting ideas and feelings. Indeed, action in movement is always the backbone of a visual construction charged with meanings.

Not surprisingly, this digital format is currently being explored by visual artists and photographers, to produce images in movement as an alternative to the formulas of cinema, video or animation shots. Though it may seem complex to understand the spectrum in which the ANIMATED GIF exists, the format has transformed its limited scope in the use of time into its greatest asset, with extensive expressive and conceptual possibilities. It also provides guidelines to redefine the notions and concepts, even at a theoretical level, involved in the constant evolution of photography, which will certainly not be the same in years to come.

 

Giuseppe Lo Schiavo  urbano  bill-429

 

 

Melissa ValenzuelaMelissa Valenzuela (Colombia, 1982). Lives and works in Mexico City. She holds a Masters’ Degree in Visual Arts from the Escuela Nacional de Artes Pláticas at the Universidad Nacional Autónoma de México (UNAM), and studied Audiovisual Communication at the Pontificia Universidad Javeriana de Bogotá. Valenzuela is an artist, and her work consists of self-portraits and recollections that address various nuances of perception, representation and memory. She also works in curatorship and education to integrate her artistic and research work..
 
Ehekatl HernándezEhekatl Hernández (México, 1975).received a Bachelor’s Degree in Graphic Design from the Escuela Nacional de Artes Plásticas at UNAM in Mexico, and a Master’s Degree in Multimedia Applications from the Universidad Poltécnica de Catalunya in Spain. He has over 15 years’ experience in graphic design and planning, developing and implementing web projects. Hernández has given diploma courses in web design at UNAM. He has spent nine years contributing to the web design and multimedia area at zonezero.com, and also works as a consultant for various companies as well as coordinating the e-learning system of the Virtual Campus of the Pedro Meyer Foundation.
[jcfields] => Array ( ) ) 1

La casa grande

Jorge Panchoaga

stdClass Object ( [type_alias] => com_content.article [content_item_id] => 166 [core_content_id] => 31 [match_count] => 1 [tag_date] => 2015-06-10 15:56:42 [core_title] => La casa grande [core_params] => {"show_title":"","link_titles":"","show_tags":"","show_intro":"","info_block_position":"","show_category":"","link_category":"","show_parent_category":"","link_parent_category":"","show_author":"","link_author":"","show_create_date":"","show_modify_date":"","show_publish_date":"","show_item_navigation":"","show_icons":"","show_print_icon":"","show_email_icon":"","show_vote":"","show_hits":"","show_noauth":"","urls_position":"","alternative_readmore":"","article_layout":"","show_publishing_options":"","show_article_options":"","show_urls_images_backend":"","show_urls_images_frontend":"","enable_artofcomments":""} [core_alias] => la-casa-grande-en [core_body] =>

01



La Casa Grande is a work that reflects on an indigenous family living in Cauca. It approaches territory as a social setting essential for constructing a cultural identity and simultaneously surviving in time despite armed conflict, stigmatization and the modern pace of life the country seeks to achieve. Identity has become an important issue in recent years, and social individualization is rooted in the understanding of this social aspect: replacing the individual’s group condition with a civil one. This work highlights the importance of union in surviving and resisting time, and reflect son the great pillars of the construction of indigenous identity: community, home, family, cultural heritage and the need for a territory to inhabit. Ambaló, the place where these pictures were taken, appears a peaceful land, which all of us who live in Colombia wish for. These surroundings contrast with the image we have of Cauca, as one of the provinces most severely affected by armed conflict and forced displacement. The images in this work lead us to imagine intimate spaces suggesting the value of these stories experienced at home, a space that has been snatched from many Cauca residents. Light is used to reveal other possible worlds, using the darkroom created in each of the houses. Each image transforms the daily outside space, enabling us to visualize Cauca and a country of peace and abundance, using our capacity to imagine a more magical world, where respect for life reigns.
 

 

02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

 

“He linked his life to the bitterness
of those whose only roof is the firmament,
whose only milk is the hard soil,
and whose only pillow is their sad thoughts.”

Ninfa Aracely Manzano,
Beyond my sadness, Popayán, 2009

The province of Cauca has historically been socially and geographically important to Colombia. Firstly, as an indigenous enclave in which communities such as the Pishau, Nasa Coconuco, Misak coexist, linked by trade and interethnic policies. This region was already inhabited when the Spaniards arrived. In 1537, Ampudia and Añasco fought the indigenous groups led by the Cacique Payan y Calambas, in a 30-day struggle in which the former’s superior weapons enabled them to defeat the caciques. After the war, showing that struggle was not the only means of resistance, there was a severe famine, during which there was nothing to eat for months. “In a suicidal act of resistance, they then decided to refuse to sow and harvest, thereby hoping to expel the invaders from their territory”, wrote the chronicler Andagoya. Colonial social life was marked by the subordination and exploitation of the indigenous population, as a reward for the campaign to conquer them. Subsequently, during the fight for independence and the construction of the nation-State, the Cauca contributed soldiers to the struggle. In that context, there was clearly a secular relationship between the individual, his assets and his heritage. The land was the homeland, the physical embodiment of the nation, designed to replace the local with the national and its identity, ignoring singular, varied stories in favor of a unique national history.

The 1821 map issued by the Popayán council members to the new center of power: Bogotá, reproduced the relations of social, political and economic subordination that characterized indigenous social life in the colony . The Republican laws sought to favor the hacienda system rather than providing protection, thereby obtaining free labor from the indigenous populations. Thus independence did not truly change conditions, however the indigenous people resisted through their traditions and way of life. In 1991, the country’s cultural diversity was recognized, yet for decades the territory has been mired in a war which it has proved impossible to end. In 2012, several reports indicated that the province of Cauca was a social setting in which the most families were forcibly displaced . In total it is estimated that over 700,000 persons abandoned their belongings and living space for various reasons, mainly armed conflict. There has been resistance in all these contexts, not always as a strictly political event or act of protest but also as an everyday act in which heritage, family stories and community life prevail. Indeed, resistance is sown in Casa Grande, in the form of territory.

Every human being has a piece of sky to gaze at, intimately linked to the territory in which he was born to live with his family, and to his window, and what he inherited from the elders to link the construction of an identity to the earth and his fellow men, thereby constructing a vision of the world. Home, as the first social setting, is a means of consolidating the basic social nucleus of any community. There, cultural differences are established, stories and myths are transmitted to identify the person, and the universe is constructed in every society. Consequently, difference unites us in the home and family, as we inherit all our forefathers’ knowledge, living in similar spaces, sleeping in different but similar interiors, and using tools to survive and relate to our environment. In the home, we are all a fundamental part of a cosmic and vital world, and at the same time a world that expects us to construct a dialectic of life.

The dark rooms1 have been built with the families and friends that we have made in the course of this project. Entering the territory, each interior and space in the home, is and represents this historical, identity process whereby family, culture and territory are linked in an unfathomable unity, impossible to defragment. The kitchen as the best place for handing down the knowledge of the elders. The bedroom as a setting for dreaming of possible worlds. Walls on which to hang the memories that indicate our social evolution. At the same time, the inverted images remind us that it is possible to transform our reality.

The portrait subjects are objects and persons. These brought me into contact with everyday life and historical symbols, and at the same time, enabled me to understand their way of life and each character’s personality. Many portraits in this series are anonymous, not because they do not have a name but because they celebrate the value of union, and create the possibility of being each of us. Finally, the homes have been lit with each family's lanterns, and the photos have been sealed by family members, as I painted the house with the light of their torches. This exercise taught us that it is crucial to imagine and build together.

The images displayed here are based on this construction of friendships and my curiosity to learn about the historical indigenous resistance. These are a joint work, to depict daily life and carry out a task not common in photography: imagining new potential realities, a crucial dynamic in the epistemic philosophy of constructing new worlds, in which the home and tranquility of the Cauca and Colombian family are possible.

1 The darkroom is an optical tool that allows a flat projection of an external image to be projected on the inside of its surface. It is one of several ancient procedures that led to the development of photography. Today’s photographic devices inherited the word camera from the ancient dark rooms. It consists of a closed box with a small hole through which a small quantity of light enters and projects the image of the exterior onto the opposite wall. The hole serves as a convergent lens and projects an image of the exterior, inverted both vertically and horizontally.

 

Jorge panchoagaJorge Panchoaga (Colombia, 1984). Lives and works in Colombia. He teaches the specialization in Photography at the Arts Faculty of the Universidad Nacional de Colombia. As a photographer, his interests focus on socio-cultural issues of identity, memory, language, cultural change following conflict and man’s relationship with the landscape. He graduated in Anthropology from the Universidad de Cauca. He is a photography specialist at the Universidad Nacional de Colombia. He is an X-photographer at Fujifilm Colombia, and belongs to the +1 Photography Collective. His work is available at: jorgepanchoaga.com/
[core_state] => 1 [core_access] => 1 [core_metadata] => {"robots":"","author":"Jorge Panchoaga","rights":"","xreference":""} [core_created_user_id] => 841 [core_created_by_alias] => [core_created_time] => 2014-06-06 17:00:00 [core_images] => {"image_intro":"images\/categories\/zonezero-3\/galleries.jorge-panchoaga.jpg","float_intro":"","image_intro_alt":"","image_intro_caption":"","image_fulltext":"images\/categories\/zonezero-3\/galleries.jorge-panchoaga.jpg","float_fulltext":"","image_fulltext_alt":"","image_fulltext_caption":""} [core_modified_time] => 2015-06-10 19:56:42 [core_language] => en-GB [core_catid] => 42 [core_publish_up] => 2014-06-06 17:00:00 [core_publish_down] => 0000-00-00 00:00:00 [content_type_title] => Article [router] => ContentHelperRoute::getArticleRoute [author] => Luis Hernández [author_email] => luischompe@gmail.com [link] => index.php?option=com_content&view=article&id=166:la-casa-grande-en [displayDate] => 2014-06-06 17:00:00 [event] => stdClass Object ( [afterDisplayTitle] => [beforeDisplayContent] => [afterDisplayContent] => ) [text] =>

01



La Casa Grande is a work that reflects on an indigenous family living in Cauca. It approaches territory as a social setting essential for constructing a cultural identity and simultaneously surviving in time despite armed conflict, stigmatization and the modern pace of life the country seeks to achieve. Identity has become an important issue in recent years, and social individualization is rooted in the understanding of this social aspect: replacing the individual’s group condition with a civil one. This work highlights the importance of union in surviving and resisting time, and reflect son the great pillars of the construction of indigenous identity: community, home, family, cultural heritage and the need for a territory to inhabit. Ambaló, the place where these pictures were taken, appears a peaceful land, which all of us who live in Colombia wish for. These surroundings contrast with the image we have of Cauca, as one of the provinces most severely affected by armed conflict and forced displacement. The images in this work lead us to imagine intimate spaces suggesting the value of these stories experienced at home, a space that has been snatched from many Cauca residents. Light is used to reveal other possible worlds, using the darkroom created in each of the houses. Each image transforms the daily outside space, enabling us to visualize Cauca and a country of peace and abundance, using our capacity to imagine a more magical world, where respect for life reigns.
 

 

02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

 

“He linked his life to the bitterness
of those whose only roof is the firmament,
whose only milk is the hard soil,
and whose only pillow is their sad thoughts.”

Ninfa Aracely Manzano,
Beyond my sadness, Popayán, 2009

The province of Cauca has historically been socially and geographically important to Colombia. Firstly, as an indigenous enclave in which communities such as the Pishau, Nasa Coconuco, Misak coexist, linked by trade and interethnic policies. This region was already inhabited when the Spaniards arrived. In 1537, Ampudia and Añasco fought the indigenous groups led by the Cacique Payan y Calambas, in a 30-day struggle in which the former’s superior weapons enabled them to defeat the caciques. After the war, showing that struggle was not the only means of resistance, there was a severe famine, during which there was nothing to eat for months. “In a suicidal act of resistance, they then decided to refuse to sow and harvest, thereby hoping to expel the invaders from their territory”, wrote the chronicler Andagoya. Colonial social life was marked by the subordination and exploitation of the indigenous population, as a reward for the campaign to conquer them. Subsequently, during the fight for independence and the construction of the nation-State, the Cauca contributed soldiers to the struggle. In that context, there was clearly a secular relationship between the individual, his assets and his heritage. The land was the homeland, the physical embodiment of the nation, designed to replace the local with the national and its identity, ignoring singular, varied stories in favor of a unique national history.

The 1821 map issued by the Popayán council members to the new center of power: Bogotá, reproduced the relations of social, political and economic subordination that characterized indigenous social life in the colony . The Republican laws sought to favor the hacienda system rather than providing protection, thereby obtaining free labor from the indigenous populations. Thus independence did not truly change conditions, however the indigenous people resisted through their traditions and way of life. In 1991, the country’s cultural diversity was recognized, yet for decades the territory has been mired in a war which it has proved impossible to end. In 2012, several reports indicated that the province of Cauca was a social setting in which the most families were forcibly displaced . In total it is estimated that over 700,000 persons abandoned their belongings and living space for various reasons, mainly armed conflict. There has been resistance in all these contexts, not always as a strictly political event or act of protest but also as an everyday act in which heritage, family stories and community life prevail. Indeed, resistance is sown in Casa Grande, in the form of territory.

Every human being has a piece of sky to gaze at, intimately linked to the territory in which he was born to live with his family, and to his window, and what he inherited from the elders to link the construction of an identity to the earth and his fellow men, thereby constructing a vision of the world. Home, as the first social setting, is a means of consolidating the basic social nucleus of any community. There, cultural differences are established, stories and myths are transmitted to identify the person, and the universe is constructed in every society. Consequently, difference unites us in the home and family, as we inherit all our forefathers’ knowledge, living in similar spaces, sleeping in different but similar interiors, and using tools to survive and relate to our environment. In the home, we are all a fundamental part of a cosmic and vital world, and at the same time a world that expects us to construct a dialectic of life.

The dark rooms1 have been built with the families and friends that we have made in the course of this project. Entering the territory, each interior and space in the home, is and represents this historical, identity process whereby family, culture and territory are linked in an unfathomable unity, impossible to defragment. The kitchen as the best place for handing down the knowledge of the elders. The bedroom as a setting for dreaming of possible worlds. Walls on which to hang the memories that indicate our social evolution. At the same time, the inverted images remind us that it is possible to transform our reality.

The portrait subjects are objects and persons. These brought me into contact with everyday life and historical symbols, and at the same time, enabled me to understand their way of life and each character’s personality. Many portraits in this series are anonymous, not because they do not have a name but because they celebrate the value of union, and create the possibility of being each of us. Finally, the homes have been lit with each family's lanterns, and the photos have been sealed by family members, as I painted the house with the light of their torches. This exercise taught us that it is crucial to imagine and build together.

The images displayed here are based on this construction of friendships and my curiosity to learn about the historical indigenous resistance. These are a joint work, to depict daily life and carry out a task not common in photography: imagining new potential realities, a crucial dynamic in the epistemic philosophy of constructing new worlds, in which the home and tranquility of the Cauca and Colombian family are possible.

1 The darkroom is an optical tool that allows a flat projection of an external image to be projected on the inside of its surface. It is one of several ancient procedures that led to the development of photography. Today’s photographic devices inherited the word camera from the ancient dark rooms. It consists of a closed box with a small hole through which a small quantity of light enters and projects the image of the exterior onto the opposite wall. The hole serves as a convergent lens and projects an image of the exterior, inverted both vertically and horizontally.

 

Jorge panchoagaJorge Panchoaga (Colombia, 1984). Lives and works in Colombia. He teaches the specialization in Photography at the Arts Faculty of the Universidad Nacional de Colombia. As a photographer, his interests focus on socio-cultural issues of identity, memory, language, cultural change following conflict and man’s relationship with the landscape. He graduated in Anthropology from the Universidad de Cauca. He is a photography specialist at the Universidad Nacional de Colombia. He is an X-photographer at Fujifilm Colombia, and belongs to the +1 Photography Collective. His work is available at: jorgepanchoaga.com/
[jcfields] => Array ( ) ) 1