我们都有吃饭的权利 
Puno/Lima/Berlin, 2020 — 2022.

我们都有吃饭的权利, work commissioned by Institut für Auslandsbeziehungen, Germany. Included in the Pallay/Pampa sample. Andean crossroads, curated by Lizet Díaz Machuca. IFA Galerie, Berlin, September 15, 2021 — January 02, 2022 / Berlin Art Week, September 17 - 19, 2021.

21.jpeg

我们 都有 吃饭 的 权利 is an installation in which more than three hundred popes constitute biological presences (non-human bodies) that perform the human language that tries to define and understand them.
 

Language - that is, the logos of the human species, its way of understanding the world - is present through a narrative. This narrative is inscribed, word for word, in each of the popes that make up the set. It comes from an indigenous peasant from the Andean highlands called Santos Vilca Cayo, and it refers to food and the way in which he and his community understand human life as a whole, integrated with everything that exists, including diseases. It is a worldview in which everything lives, in which even death is life. Undoubtedly, it arises from the foundations of "Good Living" that guide the lives of indigenous peoples: integral unity and harmony of the world, harmony, reciprocity and redistribution among human beings and between human beings and nature, solidarity and mutual service among human beings. beings.

 

When I say that language is performed by the action of these popes, I mean that, even in a narrative whose discourse proposes full harmony in life, those popes that are clearly life, establish in human language a disconcerting meaning: the Human thought, however understanding it tries to be with life, ends up hurting it, and life responds in such a way that balance is restored when human damage dies. In these potatoes, language cannot stop being a wound destined to become a scar, just as life cannot stop killing, and death cannot stop giving life.

 

Paradoxically, death lives: while these potatoes kill language, making it less and less legible and turning the wound it has caused them into a scar, they themselves cease to be food and become something that, when they die, wants to germinate new life.

 

In the midst of this tension between language and nature and between life and death, there is also tension between agriculture and agribusiness, since it is not indigenous potatoes from the Andes, but Adretta potatoes, that is, potatoes. industrially developed in the GDR during the Cold War and produced in millions of tons per year in today's Russia.

 

The mismatch between geosystem and geopolitics is also evident: the text that heads these potatoes from the wall tells us, although we cannot understand it, that "we all have the right to eat." It is written in the language spoken by China, the giant potato producer against which the other economic powers of the world fight to not lose their power over life and death.

 

Having the right to eat, from the perspective of indigenous peoples, is not feeling destined to exercise predatory power over other lives understood as things from which to obtain well-being. Having the right to eat, from a vision apprehended from the indigenous "Good Living", would imply caring for and nurturing those lives that give us life, and in reciprocity humbly offering our death to all lives.

But let's not be romantic, let's not get easily delusional. The hopeful gaze that we would like to cast towards the indigenous world in order to obtain from it the keys to regain balance in life is opposed not only by the sum of billions of individual egoisms, but by something significantly greater and more monstrous: the imposition of disagreements. between social and national identities, between cultural models of thought, feeling and behavior, between humanity and the diversity of the world in the endless homogenizing battles of transnational capitalism.

Photo © Victoria Tomaschko.

5395_Tomaschko_IfA_pallay_pampa.jpg

Photo © Victoria Tomaschko.

5411_Tomaschko_IfA_pallay_pampa.jpg

Photo © Victoria Tomaschko.

5559_Tomaschko_IfA_pallay_pampa.jpg

Photo © Victoria Tomaschko.

03.jpeg

Photo © Stefano Ferlito

我们都有吃饭的权利-(3-de-agosto)-2.jpg

Photo © Emilio Santisteban

Emilio Santisteban , interdisciplinary performance artist. Peru. m.me/emiliosantistebanartista emilio@emiliosantisteban.org  Contact us .

  • Icono social Instagram
  • Facebook Social Icon
  • Icono social LinkedIn