This is the fourth and last day of Sunlight Is the Best Disinfectant. Tomorrow I have to return to my land of origin (far, far away), so I am trusting you all to police yourselves and make sure that there is no rebellion or smashing of the state going on for the last couple days of Encuentro!
However, for this last day, we have a giant, record-breaking number of performances for SITBD. From 10:00-2:00, I surveilled most of the Memory and Violence street actions, and from 5:00-7:00 I returned to DETUCH to see more indoor performances, for a total of 16 performances for the day! Since there were so many I’m going to write shorter security analyses for each one tonight.
I’ll start in chronological order in the morning. First there was Christine Brault’s Weaving Memories in Londres 38. According to the site she was weaving a body bag with seaweed, although honestly it didn’t look like a body bag, so perhaps it ended up being something else. In any case, I think this kind of alternate-materials research is a good capitalist strategy and a welcome approach under the state.
Outside was Celia del Pilar Páez Canro’s For-the-Words. She was writing graffiti on the walls of the building. This is a pretty cut and dry case: graffiti is an act of rebellion, and I am no fan of the Rebellion. This is definitely not an acceptable act and the state should investigate further.
Complejo Conejo then led us from Londres 38 to the Antonio Varas Theater with their Exterminated like Mice. They had cute mice hats on, and were reading newspapers that described the killing of people like mice. Their hats were white and all the same, and as usual I am in favor of both white and all-the-same styles of costuming. What I think was most interesting is that they were leading the rest of the crowd, not like mice, but like lemmings, bringing them surely to their doom, that doom being a life of chaos and rebellion as an artist, aka the theater. So thumbs up for the hats, and thumbs down for secretly being lemming-leaders.
Rodrigo Barreda’s Design to End Torture (DTT) was on display outside the Antonio Varas Theater. I was a little far away to hear, but I believe he was trying to involve the crowd in plans for reducing the use of torture. Speaking for the Empire, we stopped using torture a long time ago and now solely use Interrogation Droids instead, so I think we’re off the hook there. Plus, he gave out free buttons, and as explained in an earlier post, free stuff=good review!
Desvio Coletivo’s Weddings involved a bunch of people fondling and kissing each other in various combinations. This is all fine, but more importantly, the wedding participants all either wore all white, like me, or all black, like my boss. So once again, a smart costuming choice for the win!
Coletivo Teatro da Margem’s Bodies that Remain consisted of them drawing chalk outlines around people who pretended to collapse on the ground. They walked us to Plaza de Armas. It was a disconcerting performance; I felt the whole time that someone was going to think the people were really hurt or dead and call the cops, and with the amount of chaos-agents in our midst, that’s not what we needed! But, it worked out well. No free stuff or black or white costumes here, but no need: stormtroopers need to know how to draw body outlines as part of our line of work, so this was good job training for them. Hopefully I’ll see some of these artists on the trooper team some day.
Finally, at the park, we saw Natascha de Cortillas Diego’s Chile Kneads its Bread. This was on a circular open stage. She did a variety of choreographed moves. But more saliently, she wore all white (once again, great costuming idea) and she made a white circle of some kind of powder on the ground, and as I pointed out a couple days ago, this seems to be a new trend. No points for engaging in the trend (why not blue powder? fuschia powder? I mean, I’m not one to go against white, but let’s free up our powder choices folks!), but she does get some goodwill for the outfit.
At night I went to DETUCH and saw a number of other performances and installations. Rodrigo Arenas y Manuel Tzoc’s The Reestablishment of Abya Yala was a theater piece, so I stayed outside. From what I could see before and after, they had a projection screen and a table. Since I don’t really know its political implications, I’m just going to decide which way to treat it (supportive or rebellious towards the state). And, since it’s better to be safe than sorry, I’ll just assume rebellious. So watch out for some follow-up surveillance in the future!
Luna Acosta’s Sovereignty/Necropolitics involved sucking up blood from a bowl into a pipette, which was then dripped slowly into dirt. There was also a wild soundtrack in the background. On the one hand, looked at from the point of view of medical training, this seems rather useless, since most hurt people want new blood, not the removal of their existing blood. Also, using individual pipettes is rather slow compared to other technology. So I can’t recommend this as part of boot camp medical training. But, once again, white costume!!! So I will recommend that she study blood transfer technology and goals more in depth if she wants to join the legion of troopers, but give her the benefit of the doubt for her loyalty since she picked out the white costume.
Roberta Nascimento and Maria do Sol’s We Warm Up Hearts in Cold Blood was probably the highlight of my evening. They set up a tube that dripped blood from one woman’s arm, through a tube, and onto a glass heart, which itself then melted into a bowl. We need our troopers to be cold-blooded, so double thumbs up here for this excellent process, I will recommend it to all the troopers in my company as soon as I return home!
I’m not sure of the full story of Carlos Martiel’s Pit. When I first checked on it, he was shoveling dirt from some piles into bags. The next time I went in, the full bags were just sitting in there, and no one was there. So I don’t know if something else happened in-between. But, we had to do this kind of Cool Hand Luke “dig a hole and then fill it in” style of training in Basic Trooper Camp, so I can sympathize. It’s an authoritarian thing to make someone do, so it’s OK by me.
Violeta Luna y Stela Fischer’s For Those Women Who Are No Longer Here was an installation, rather than a performance, at least from what I saw. Even we troopers mourn the dead (although not so much in the case of the clones since they’re easy to re-grow), so it’s also OK by me.
Barak adé Soleil’s turttle // ele’fant: a solo performance diptych was more of a theater piece so I wasn’t in there too much. It involved both an introduction and a choreographed movement piece. From an authoritarian point of view, I can’t endorse this. We believe that everything should be utilitarian, that everything leads towards our Empire’s goals. So something like this, which is built on aesthetics, is unnecessary in a perfect state. We must not let ourselves be distracted!
Ernesto Orellana’s TOO MUCH SEXUAL FREEDOM WILL TURN YOU INTO TERRORISTS is a clear warning, and now that I have seen the piece, it seems all-too-real in its implications. In it, a couple naked guys danced around, with one of them drawing something in a square (maybe breasts?). Then they lit an Encuentro poster on fire. It seems to be that they were showing how the sexual freedom enabled by their nudity caused them to go wild and burn stuff. Now that we know this is how this works, we shall have to take steps in the future to keep it from happening. Otherwise, I am going back and forth on the whole “burning the poster” thing. On the one hand, Encuentro does seem to involve more than a few artists who have embraced the Rebellion, which is no good. So burning its poster seems good in turn, so that no other people will come and be seduced by its iniquity (I think “evil” would be too strong a term). On the other hand, burning stuff is a direct act of Rebellion itself, and thus requires punishment.
I think that Isabel Torres y Yeny Barría’s Minka never happened, although it could be that I missed it.
Finally, Samuel Ibarra’s A Transactional Breath was an installation with a soundtrack. Many random objects were covered with white powder. Once again I am left questioning the meaning of this white powder, used in so many performances. But I think this will have to be a mystery for now, and I will investigate its implications another time. Otherwise, I saw a soldier on the ground as one of the objects. I assume this was a message of being in support of the state, so of course I support it in turn.
And last but not least, I have here the many, many photographs I took of people who took my own picture, which they presumably did as a show of support for my ethics of peace through order. Their numbers have only grown, so I am proud to be the leader of this legion of photo-supporters! (I have to note that this is by no means all the photos of photo-takers, some of the photos didn’t turn out for one reason or another.)
Overall, looking back at the past few days, there were clearly many rebellious, state-smashing performances at Encuento (grafitti, nekkidness), but there were encouraging state-supporting decisions and strategies as well, from dressing in white clothing to support me, to using state weapons and strategies to keep the people down. I hope, however, that the artists over the next couple days when I am gone will take the lessons from these blog posts to heart and change any unfortunate state-undermining performances into good, wholesome, state-supporting performances.
As I mentioned before, if you have any pictures of me, please send me a copy, either here, or by email to firstname.lastname@example.org, or to my Facebook page, https://www.facebook.com/corp.outis.