Liuvoff Morales
POGotá Noventera
Wandering Bogota in the 1990s: Imaginaries, memory and archives of young people on the rock scene
¿ What generation do you think you are?
I´m the one who passed from girl to adolescent during the decade of the 90s. From a generation that has lived processes never before imagined, through the dizzying development of technology over the last thirty years. From moving from analog to digital, from classroom to virtual classroom, I'm the one who happened to record cassettes to download music in mp3, and the same that has seen the vinyl reborn from its ashes.
I´m from the generation that grew up going to the movies with friends, and after 10 years I moved on to the overflowing but novel way of watching movies and series on Netflix and Pelispedia. Go from reading books and encyclopedias on paper to jump to the PDF or EBook, and have "photosensitive" problems with the computer screens, well, I get to go back to paper again.
I´m part of the people who passed the ritual of taking analogous photos, on paper, and sharing family albums at meetings, having an indefinite number of photos hung in the "cloud" and Social Networks, with the risk that companies like : Apple or Google may have access to our privacy and personal information.
During the 1990s I lived a fragmented Bogota, a reflection of a corrupt state, under the hordes of drug trafficking and violence. All of us born in the eighties have engraving of this time the fear of bombs.
There are bad events that will mark several Colombian generations, memories that link, in my case, the emotional with national events, such as the assassinations of presidential candidates in the late 1980s and early 1990s. I can not remember all the events that occurred in that decade, my memory is audiovisual and generated a great appreciation for the genre of the video. Let us remember the fragment of Señor Matanza:
That pot, that mine, and that estate and that sea, that paramilitary, are property of Señor Matanza. (...) that toad, the union and the bishop, the general are property of Mr. Slaughter (...) And to my niero they carry pal monte (...) (Mano Negra, House Babylon, 1994)
The video clip of this song shows the Bolivar Plaza of Bogotá, with inborn dancers, talented children marginalized by poverty and drugs. It seems that Lord Slaughter can be incarnated by a politician and even by a narco, in any case by any form of corruption that may exist. We see a crude, rainy city with Military Police (PM), yellow huts, passers-by and street dwellers. I also remember the Troncal Caracas that appears in the video clip of the song Bolero Falaz de Aterciopelados (1995), a humid, gray avenue, full of people who are going to hurried pace in the middle of trancones, busetas and pollution, things that have not changed yet.
The idea for this project seeks to tell through fiction, history a character that wanders through the imaginations, memories and musical files of young people of Bogotá in the decade of the nineties. A kind of flâneur, which collects stories and moments, to be read through a set of quotes and audiovisual tours that connect the cultural spirit of the time, which was not only violence, but restless minds, young people who imagined other spaces self Managed. With the support of who? - of their own parents and with the talent that they themselves could give.
The social emergency of the youth is staged with the "reconfiguration of the public". The eminently cultural character of Latin American youth movements implies that the 'cultural' in a particular way - beyond the shout - juvenile bodies, playful expression, loss of fear, the explosion of affection and the appropriation of other territories, an action Collective very imaginative using the resources of the time as: comic, fanzine, documentary and stencil among others.
For this proposal Im interested in approaching Foucaultiana's perspective of a new archivist, according to Gogol's story, a character who may feel uneasy, in an atonal logic, who scorns the vertical hierarchy, to install a mobile typology. It enters the field of rare statements, everything is real, in that "virtual or latent content," the latter, full of dialectical richness that strikes between contradiction and abstraction. Foucault presents us in The archeology of the knowledge other ways to approach the knowledge of analytical rigor and "responds to the Heideggerian question by the meaning of thinking", to make analysis of the subjectivities derived from the power and the knowledge, showing us the possibility of thinking like resistance. I would like to emphasize digital sources, so Im in search of referents who follow a typology or mobile thinking, as a possibility of resistance from images, music, the urban and the media.