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THE AMAZON WOMEN WARRIORS ¿love or meat? (LAS AMAZONAS ¿amor o carne? / Selected project for SACO, Antofagasta - Chile / 2017


LAS AMAZONAS ¿amor o carne? ist parto of the Public Space group show at the historic Dock Melbourne & Clark, Antofagasta, Chile
with LUCIA WARCK-MEISTER | PAZ CASTAÑEDA | NICHOLAS JACKSON | ANA MOSQUERA | FERNANDO FOGLINO | OSCAR A. PABÓN | click here for more information about SACO6

My intention is to generate in the spectator a visceral reaction that leads him to reflect on the ironies that the current tropical landscape presents. The piece exposes the inherent contradiction that exists in the Picó: as a central element of the tropical festivals but, at the same time, as a permanent element that bursts the natural soundscape with attractive melodies and offensive lyrics that seduce Latin women to decadence.

THE AMAZONAS is the first female Picó in history and a symbol of resistance.
* Love or meat?

- Love:
The tropical speaker is the contemporary drum of Latin America. It is the form of expression found by people in the tropics to express themselves and be in community. The Picó, for example, represents a cultural legacy of the Colombian Caribbean. The music that is heard in The Picós is primarily African music from the 60s and 70s. The love for music serves almost as an ancestral call in the picoteras communities, where people gather to listen and dance. The volume is so high that there is no room to talk. It is a trance encounter where music enters the earth and vibrates the body. The dances that have developed around the Picó are as unpublished as their music and resemble ancestral dances around the fire and the drum. This is how the speaker and the volume of his music that echoes in the tropical landscape, becomes a primordial part of his environment and emanates love.

- Meat:
However, the tropical speaker is not without controversy. Although tropical speakers are part of the tropical identity and, in the case of Picó, it is an important cultural legacy, from another point of view, this practice has controversial elements. For example, from a Western perspective, these speakers violently invade the landscape and transgress personal space. The tropical speakers are all over in South America and the music that currently predominates (outside the picotero context) is "reggaeton". This musical genre is derived from Jamaican reggae, influenced by hip hop and African rhythms. The biggest controversy of this genre is, in my opinion, the content of the songs that invade and transgress women. The lyrics are usually camouflaged in love songs, but hide concepts that reduce women to a sexual objects.


Video documentation of "LAS AMAZONAS ¿amor o carne?" / 2017 / SACO6, Antofagasta, Chile
- Audio: 2 soundpieces
Piece 1: Reggaeton at the tropics (30 min), recorded and edited by Adriana Ciudad
click here to listen
- Piece 2: The Picó culture (30 min)
click here to listen, produced in collaboration with Dairo Barriosnuevo
click here to go to the Blog of Dairo Barriosnuevo
- Outer Box: 3 wooden boxes covered with acrylic paint and markers with Chinese ink / 140 x 120 x 80 cm approx. / profiles and audio case dropouts / 4 wheels with brakes
- Interior Box / Soundsystem with 4 speakers / battery / amplifier / dvd-player



TROPICAL DISONANCE, 2017


"Disonancia Tropical" is part of the groupshow: Y Gallery LIMA | #1: EL JARDIN DE LAS DELICIAS
con MIGUEL AGUIRRE | TANIA BEDRIÑANA | ALBERTO BOREA | RYAN BROWN | C.J. CHUECA | ADRIANA CIUDAD | NICOLE FRANCHY | MAURICIO IANES | NATALIA IGUIÑIZ | REINALDO LUZA | NORMA MARKLEY | ALFREDO MARQUEZ | ELIANA OTTA | G.T. PELLIZZI | DULCE PINZÓN | PIERO QUIJANO | FRANK SORIA | SUSANA TORRES | CAMILA VALDEAVELLANO | ERIKA VASQUEZ


registro de vídeo de la instalación "Disonancia tropical" / Abril 2017 en Y Gallery, Pop Up en Lima (espacio de aprox. 30m2, paredes intervenidas con acrílico y tinta china, audio editado en colaboración con Orieta Chrem - sonidos grabados en el Callao)

The installation "Tropical Dissonance" is a proposal to reflect on the ways in which contemporary society affects, contaminates, invades, floods, corrupts and mutates its own territory./h2>

Just as the various oil spills of Petroperú in 2016 have affected the Peruvian Amazon, the attitudes and actions of the citizen in the city of Callao Monumental erupt and invade dramatically the territory of the Lima port. The installation is intended to be an enclosing piece: The walls are intervened with acrylic paint and Chinese fool, suggesting a tropical landscape (palm trees in storm) invaded by a spill.

The space is complemented by an audio piece, a second landscape in analogy with that of the walls, which critically exposes the sound landscape of Callao - the sounds I recorded in-situ: the waves of the sea, the sound of the seagulls , the car horns, phrases of its inhabitants, Reggaetones that echo in the neighborhood, the port machines, etc. and it was edited in collaboration with the producer and musician Orieta Chrem.

My intention is to create in the spectator a visceral reaction in the course of the piece that leads the viewer to reflect on the problems, peculiarities and ironies that some landscapes of Latin America present.