The artist Cracky Rodríguez reflects on his collective practice in El Salvador, in which he uses art as a tool to question and redefine the Salvadoran imaginary of conflict through different forms of expression.
The Farabundo Martí National Liberation Front was created on October 10, 1980 as a body that brought together the five politico-guerrilla organizations that participated in the civil war against the military government of the time from 1980–1992.
These marches were crowded and dressed themselves with an air of communitarian mysticism. The participants marched to the rhythm of popular folk songs with banners and signs that demanded better working conditions as well as an end to repression and the fall of the bourgeoisie. And although they were not part of the left, slogans of Marxist ideology appeared in conjunction with standardized verbal and body languages.
Works like Teorema de la dislocación (2013) and Lines (2013) reflect on this.
In the last decades of the twentieth century under military repression, unions, university students, and sympathizers leftist organizations shared spaces of struggle in the street with political parties like the Salvadoran Communist Party (PCS) and its divisions, which led to the construction of new expressions of militancy.
The group Los siempre sospechosos de todo was founded in 2017. From that moment on, it positioned itself as an artivist organization that defends and sheds light on illegal imprisonments and abuse of power on behalf of state institutions against innocent people who live in areas of gang conflict. After joining with artists, it built alliances with the families of illegally detained people in order to produce actions that would reveal government abuses. Currently, we view this project as a space of openness for transdisciplinary work as social integration.