EXPRESS TORTURE PROCESS
BLANCA ANGÉLICA VELEZ NAVARRETE
The latent suffering of a kidnapped or missing person is something beyond our perception and understanding, unless we are immersed in such a situation, or a similar one. In this sense, self-submission to torture, which is what comprises the performance piece “Express Process Torture,” has been a way of approaching the encounter with the pain of one kidnapped—in this case being the tying of hands and feet and drowned in blood and excrement—to protest and demand justice for the disappeared from all corners of the republic and the world who expect a release that might never arrive.
Living—albeit in an approximate and laconic way—through despair, helplessness, fear and the terrible pain of being constrained, helpless, submissive and tormented, is how you can achieve widespread empathy with those who have been unable to recover it.
Fellatio to poop cairn show how easy it is to taste and eat my own excrement dissolving in my mouth, compared with the repulsive, abhorrent and intolerable shit that people swallow every day as far as economy, religion, racist geopolitics, industry pharmaceutical and obsolescent capitalism are concerned. The “big fucking lies” are harder to digest and do more harm to humanity than this eschatological element through which the masses are scandalized. And, especially, the act of “fellatio” is a raw and strong protest that in a nutshell says: “I’d rather lick my cairn than your filthy dick”; in a clear manifestation against the pusillanimous macho and the misogynist rapists who only exist in order to show their bestiality, uselessness and rational and emotional inability to interact with beings different to them. So, with this piece I positioned myself, from the most stigmatized, against abuse of power in all his many forms, to show that the values are reversed.