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The back of a white postcard with text to the left side and blank lines on the right. The text to the left, written in spanish, is translated as follows: “I was with my friends at a party in an 18th century European palace and we had wigs like Mozart's. Everyone had a partner except me. There was a moment, in the midst of the dance, when the ESMAD (the Mobile Anti-Disturbance Squadron). arrived. I was in charge of realizing the assault and notifying the others. I ran around the palace pulling wigs, but everyone was dirty dancing. When the shots began to ring out, my friends sought a hiding place. As I ran looking for mine, I realized that this was not a palace but an art exhibition. I felt imprisoned, like in every museum. I did not find any work of art that would serve as a refuge and I woke up scared by the last shot from ESMAD (the Mobile Anti-Disturbance Squadron).”
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Sueños oníricos, misivas de resistencia 8

Lorenzo Camcho

These are 13 illustrated postcards with written dreams people had during the pandemic and the social protests in Colombia. The postcards portray the way in which the collective unconscious was affected by violence and scarcity, they also offer alternative ways of approaching the eternal question of what to do against injustice and adversity.

I've been working on dreams for long enough now. To me, they are very important, strange and beautiful artifacts. When a friend, Andrés Torres, invited me to create this collection of dreams during the pandemic and the social protest in Colombia, I couldn't say no. This is but a sliver of the enormous changes that both events have brought to the already complex oniric structure that sets on the Colombian people. It speaks about our fears, our confusion and pain, but also our resilience and hopes: our imagination.