Bocas De Ceniza (Mouths of Ash)
Laurel Reuter - 2007
One day while driving through Bogotá, Echavarría noticed that sidewalk sellers were displaying their wares on old battered mannequins. Busy rifling through the clothing, shoppers paid no heed. For a brief moment, the mannequins took on a different life for Echavarría. They became the raped and pillaged citizens of Colombia, the rural peasants suffering massacre after massacre, kidnapped for ransom, displaced, turned into refugees by the tens of thousands, or killed, their mutilated bodies tossed into a river or a mass grave. The damaged lives of ordinary people wrought helpless, homeless, and violent by fifty years of civil war normally went unnoticed by privileged citizens of Bogotá, buffered by wealth and security systems.
Laurel Reuter
Director and Curator, North Dakota Museum of Art
Excerpt from “Bocas De Ceniza (Mouths of Ash)”
Laurel Reuter - 2007
One day while driving through Bogotá, Echavarría noticed that sidewalk sellers were displaying their wares on old battered mannequins. Busy rifling through the clothing, shoppers paid no heed. For a brief moment, the mannequins took on a different life for Echavarría. They became the raped and pillaged citizens of Colombia, the rural peasants suffering massacre after massacre, kidnapped for ransom, displaced, turned into refugees by the tens of thousands, or killed, their mutilated bodies tossed into a river or a mass grave. The damaged lives of ordinary people wrought helpless, homeless, and violent by fifty years of civil war normally went unnoticed by privileged citizens of Bogotá, buffered by wealth and security systems.
Laurel Reuter
Director and Curator, North Dakota Museum of Art
Excerpt from “Bocas De Ceniza (Mouths of Ash)”
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