Their scars never seem to heal; again and again, the trauma comes and again the wound burns. Borderline psychotic insistence on returning to pain with the eagerness to seal in memory the cry of those who remain and those who leave. A past not too far away that becomes present and intuits the future. Heap of scrap corroded, a symptom of the worst suffering: the discomfort of the soul. Migrations that become problematic, inseparable from history, since they have transcended all spheres of society, hence the art –inherent component of national culture– be witness of these migratory episodes, most of them traumatic.
Impotence and fury are accompanied by hope to reveal the complex horizon of emotions and the depth of the open crack. The longed-for reunion, the daily feeling of uprooting and the exhausting race to get nowhere. From one piece to another Alexis Leyva Machado (Kcho) recalls the leap given over the bars of salt and the euphoric and panting breath of those who recognize the inevitable mark of insularity.
Kcho, like a surgeon focused on his work, repeats again and again the cuts on the skin to expose the diseased mass that conditions the pain. Sacred boats with oars that appear to lead to salvation. A sea of red violence staining the lines of a homeland. Anonymous beings, hasty to come to the afterlife and loosen the narrowness of the great speeches that keep empty seats at the Sunday table. Discursive operative capable of deconstructing part of the infinite and complex reality of the context. Nothing seems to impede the journey, nor does the imminent possibility of death imprison the impetus, and if doubt arises, the motherland beholds you proudly.