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Marcos Ávila-Forero
France / Colombia, b. 1983

Marcos Ávila-Forero France / Colombia, b. 1983

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Open a larger version of the following image in a popup: Marcos Ávila-Forero, Un Pechiche para Benkos, 2017
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Un Pechiche para Benkos, 2017
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Un Pechiche para Benkos, 2017

Marcos Ávila-Forero France / Colombia, b. 1983

Un Pechiche para Benkos, 2017
Video HD.
5' 28''
Edition of 5 plus 2 artist's proofs
Enquire
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Further images

  • (View a larger image of thumbnail 1 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 2 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 3 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
In the video Un Pechiche Para Benkos, Marcos Ávila Forero suggests to a Congolese musicologist and percussionist —specialized in ethnic percussion— to activate the drums of Palenqueros, reinterpreting the secret...
More information
In the video Un Pechiche Para Benkos, Marcos Ávila Forero suggests to a Congolese musicologist and percussionist —specialized in ethnic percussion— to activate the drums of Palenqueros, reinterpreting the secret codes with which the slaves communicated during the colonial period, from a series of rhythms that still exist and retain some of the old traits of a lost language. Besides the sound of the activated drum, the video unfolds a narrative where two voices from two separated periods coexist, embodied in a unique character: on the one hand, the real account of a contemporary, clandestine migrant, hidden in the hull of a cayuco, trying to cross the Mediterranean; on the other hand, Benkos Biohó, killed in 1622, former slave and leader of the first emancipatory movement in Colombia.Initially, the account seems to be about music, answering to the rhythmic trance of the drums and evoking an echo chamber. Soon, it is evident that this echo chamber is actually the hull of a ship, an element that brings together the two lives into a single narrative.By using these codes —which echo those of the means of communication of the colonial period—to tell a story, the drums become a vehicle that invokes the past in order to reunite it with a contemporaneity where neo-imperialism and post-colonialism coexist.

En el video Un Pechiche Para Benkos, Marcos Ávila Forero le propone a un musicólogo y percusionista congolés —especializado en percusiones étnicas, activar los tambores del proyecto Palenqueros, reinterpretando a partir de una serie de ritmos contemporáneos —que conservan las huellas de un lenguaje perdido— los códigos secretos con que los esclavos se comunicaban en la época colonial.Además del sonido del tambor activado, el video despliega una narrativa en donde existen dos voces, de dos épocas distintas, encarnadas en un solo personaje: Por un lado, el testimonio de un migrante clandestino contemporáneo, que se esconde en la carcasa de una embarcación, tratando de atravesar el Mediterráneo. Por otro lado, Benkos Biohó, muerto en 1622, esclavo y líder del primer movimiento de emancipación colombiano.Al inicio, el relato pareciera hablar de música, respondiendo al trance rítmico de las percusiones y evocando una caja de resonancia. Pronto se evidencia que la caja de resonancia es en realidad la carcasa de un barco, elemento que reúne las dos vidas en una única narrativa.Al utilizar estos códigos —que hacen eco de los métodos de comunicación en los tiempos coloniales— para contar una historia, los tambores se convierten en un vehículo que invoca el pasado, para reunirlo con una contemporaneidad donde coexisten neoimperialismo y poscolonialismo.
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