The grieving process does not always occur when you lose a loved one, the losses are seven types, each of them has a different adjustment process, and although all are living with pain, death is the most difficult to overcome. In all cases, a loss confronts and questions the meaning of life, they are:
affective relations: people and animals, environmental
: catastrophic events that disrupt the place to live,
habits: smoking and drinking ,
skills: lose what you do know how to play, sing,
projects: are planned but are not,
Objects: property of great importance as paper, and
body parts: fingers, legs, arms, etc. Cited
different kinds of grief, it is important to clarify that this project is based on the match itself is made to be loved.
According to the different customs of each culture, the ritual of death is celebrated in a specific way, the day of the dead hand of the Catholic calendar of holidays in the month of November; in countries like Mexico is held so cheerful in the midst of sharing food and drink next to their dead; customs inherited from the indigenous Mexican peoples, and in other Latin American countries like ours is celebrated through prayers, chants and meditation.
The purpose of developing an artist's book from the experience of loss and mourning their own and others, comes from a peculiar ritual in honor of the dead cemetery Museum San Pedro de Medellín, organized by a group of artists Casatallersitio
, of \u200b\u200bthat city and artist Juan Fernando Velez, the night of November 1 last year, in a kind of gallery Photo of deaths, sought to strip the death of the painful nature, violent and tragic that surrounds it. Participated in workshops to develop the grief and in their midst, made lanterns and decorated the tombs and vaults of the cemetery, says the artist Velez, one of the promoters of this event in Mexico brought the idea of \u200b\u200bcelebrating death:
"the visitors come with pictures of the deceased, flowers and any gift that want to give their dead, it seems crazy to think about celebrating in a cemetery, but we want to give a festive way to therapy. " [ 1]
Starting the pain
to represent, express and aestheticize life situations is an initiative from different media has stirred the artist essentially when you can involve other people who identify with these situations as in this case with "The Art and Grief. "
The image comes to cover a shortfall, the absence is offset by the performance. She rises at the meeting point is between panic about the cosmos, to death, and the beginning of a decomposition technique ... Before the death, the recomposition of the image. And it is precisely because of its footprint, for real that you burn the image transferring their uniqueness irreducible, the photograph has to do with grief - death - and the desire. There are anchored to the values \u200b\u200bof relics and fetish of such images. They may be discolored, deteriorated, may be imprecise, fuzzy, but have an irrational power over us that can never be the most accurate picture of a face: the benefits of being a trace of reality transfer of a thing about his playing [2] .
The work of mourning, carried the work through learning, arises as one begins to inquire into the circumstances surrounding the whole issue about the image, reflection and personal environment and experiences with regard to situations that require us to purchase a reason for the pain and tragedy, a vital boost to sublimate the axiom that says: "is not art despite our pain but just for them. "
Make a sign of mourning art, not meant to generate opinions about morality, or attacking the concepts of ritual that each person is determined not to be exploited irreverently of the remains of those who no longer are part of this reality, much less stop on the image of a body that no longer transcends any aspect, the recurrence of memory sufficient to confirm that absent beings are still present if you have not forgotten and there is enough to occupy the places inhabited by them or find their belongings endlessly. From this fact an act of deep respect and reverence, far from the curiosity of the evidence of death, our intention is much more than the excuse of a job with a symbolic charge, sought and supported by the facts of others or to reasons beyond the fact of being a personal experience necessary to be taken to the field of art and provides a sufficient background to human life and for the manifestation of a work in art, being a trance that can lead to who have, over the edge, becoming an incentive to recover, rebuild and survive.
When we appropriate our experience, including what we do to say that there is beauty even in pain. This is nothing new because the artists had already passed this state of affairs disaster of the war, the iniquities of the tragedy, hunger and disease but now is manifested in other ways, the currency has led to constantly doubting all forms of domination established, be it conceptual, political or ideological. Given this context there is imagination, doubt and perplexity, but there are still various forms of representation.
Found ways to express the most sublime and most banal, pain and joy, joys and sorrows, enjoying the contradictions because in them the man finds a way to meet the uncertainty. No doubt the artist stands worlds through the work, not at any time, the demiurge determined by some treacherous currents of art, rather it is the creator of new possibilities in the poetic space that seemingly unattainable horizons points. Thus, the work is reason to express what life tirelessly ear pronounce MEMENTO MORI, remember that you must die, but to transcend the understanding that death is an exhortation, not for the purpose to experience fear, or to learn to die, but to warn that the journey of life also comes to an end.
[1] VELEZ, Juan Fernando. Newspaper El Tiempo. November 2, 2006. P. 1-5
[2] Restrepo, Camilo. Photo ID Fragments for aesthetics. P. 42-43
