The colombian nation, as an aesthetic project of modernity, defines the world by drawing small imaginary lines that tend to move over time. Exact and relative at the same time, these lines enclose what we have come to call national identity, something that ultimately is nothing more than a symptom of the existence of this drawing. An identity that is also exact and relative at the same time. Exact because it contains a series of experiences, situations and phenomena that can be clearly observed as “national” and relative because their existence depends on our eyes. The national eyes are not human eyes, they are more like the arachnid organs of vision, multiple and multifaceted organs that produce a complex and at the same time fragmentary image of the world. We all have these eyes, hidden under our flesh, anchored to our ideologies, to our life experiences and, above all, to our aesthetic consciousness. But these eyes can remain asleep forever unless they are activated thanks to the presence of the audiovisual machine. The camera and the montage have the power to articulate the dissonant facets of the national aesthetic consciousness, if they are properly organized.
In this screening we gather 11 of these looks. Complex and multifaceted, they are all the product, to a greater or lesser extent, of what we can call national aesthetic consciousness. They all explore different ways of perceiving the world, of living in it and of sharing it through audiovisuals. They present diverse histories, geographies, politics and aesthetics, which apparently have nothing in common, but which at a much deeper level of analysis operate as evidence of the existence of an arbitrary drawing on the planet. These 11 gazes represent the almost 48 million points of view that shape the national aesthetic consciousness, so different from one another that only the staging of this exhibition and an imaginary line can group them together as an organic whole.