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We The Colombia National Team (2003).

Nosotros la Selección Colombia/We The Colombia National Team was created in collaboration with visual artist Antonio Cadavid, and was commissioned by the organizers of the national peace campaigning event Semana por la Paz. It combines a participation and process-like happening/performance format with site-specific art and live DJeing. For this project, different objects and one sculpture were sub-commissioned to local artists of different specialties.

Nosotros la Selección Colombia/We the Colombia National Team is the attempt to embody the Colombian map from the perspective of eleven internally displaced persons who now live and work as ‘vendedores ambulantes’ (traveling or mobile salespersons) in the streets of Bogotá, the Colombian capital city. Rather than to represent the country’s territory through a conventional cartographic process, this piece performed a mapping of the different and personal routes that each one of the eleven displaced persons had to endure in order to escape from a real and violent menace to which they were exposed in their place of origin in the Colombian country side. Formally, the aim of the event is to invite the public to interact with the salespersons and in so doing to help them to move or travel from their place of origin on a large-scale Colombian map all the way up until they reach their current geographical position in real life, which in all of the eleven cases is Bogotá. The action of the performance took place on a large-scale political map of Colombia that was outlined onto a football field. More concretely, the football field was overlaid with the Colombian map, turning the playground into a space of politics and the national territory into a kind of playground.

Nosotros la Selección Colombia/We The Colombia National Team took place on 23rd September 2003, the same day that the Colombian football national team was playing a qualifying match against Bolivia for a place in the world cup 2006 (which Colombia lost 4-0). A local TV news program made a note on the performance some hours before the actual Colombia-Bolivia match and the presenter commented about the piece ‘all counts for making peace happen in Colombia’. This televisual intervention turned the piece into a public event for a wider audience. Luisca is interested in continuing exploring ways of turning participation performances into mass media events. Further, this illustrates Luisca’s interest in blurring the boundary between ethics and aesthetics in performance through participation, mapping and site-sensitive strategies.

 
         
   
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