In the main square of Bologna, Italy, Blow Out by Brian de Palma is projected outdoors. The square is totally full, before, a musician that Italians love, Pino Domaggio hums a beautiful song, "Io che non vivo senza te..." In the square everyone sings, young and old. You breathe tranquility and happiness.
At that moment Argentina sneaks into my cell phone; Jujuy burns.
I wonder if I do not already abuse the resource of comparing the traveler with the stages of his journey and this Argentina wrapped in flares.
Never mind. The comparison is inevitable.
Where are Argentina that you have lost all serenity?
In one of the classrooms of the University of Bologna there is a mathematics exam. I observe the students. Absolutely concentrated.
The walls of the entire university, the oldest in the world, are clean, spotless, with history respected and attached to its walls. Students in the streets sing, kiss, do not forget the political discussion, but no aggression is perceived.
The gardens of the university, the spiral staircases, the large tables as clean as the water of a mountain stream.
But Jujuy is burning and everything indicates that there are those who treacherously intend to set fire to democracy in Argentina.
There are other worlds.
There is another life.
In Argentina it is intense, minority but pyromaniac, hatred of democracy, fury against all rationality, the desire to destroy.
It is not a fatal fate. Italy was a hell even worse than the Argentine and today it is something else.
But the costs were endless. History is a warning to Argentina; Beware of fascisms, whether right or left.
These fires are uncontrollable bonfires if the danger of these devastating wraths is not assumed.
Blow Out, Palma's film that is being screened in Bologna's main square, is a police drama that shows the defenselessness of the individual against the powers of the State. And also the paranoia that vulnerability produces.
Argentina is paradoxical. The State crushes us, but it also withdraws and is not where it should be, or as in Jujuy the National State colonized by an agonizing government seeks to boil a dissident province of the ruling party.
At the same time, it operates by covering up a crime of power in Chaco, such as that of Cecilia Strzyzowski.
There is a collective and political figure associated with authoritarian power: the vandals.
Remote-controlled vandalism is consubstantial to domestic imperialism. And internal imperialism produces internal feudalisms.
Feudalism does exist here, not as an equivocal translation of medieval Europe, but as an eloquent metaphor. The first to notice it here is the Peruvian José Carlos Mariátegui: feudalism or "Gamonalismo" in allusion to the gamón, a shrub that never uproots. A mode of socio-political exploitation.
Internal imperialism operates from Buenos Aires distributing federal resources arbitrarily, more for friends, less for enemies, and also lighting bonfires where it does not prevail.
The scheme is simple and brutal: internal imperialism, an exotic unproductive and top-down feudalism and vandalism to sustain everything.
In short, a vandal system that confronts democracy wherever it could emerge and consolidate.
Among the vandals there are several categories. There are rented for little and small, but at the top of the vandalism system there are direct partners, who operate in tandem with the political leadership.
The function of the vandal is to intimidate and in general they achieve it by paralyzing all divergence, but as it is about vandals occasionally kill.
They are the outpost of violent capitalism. They accumulate flows emulating Attila.
The invasion of the Vandals in Jujuy unleashed a spiral of violence.
They went into battle monitored by the control tower installed in Buenos Aires and made it very clear that for them the task is to chaotize everything.
The behavior of vandals is simple as wildfire. Explode.
And in those explosions we all burned.
Although, they do not warn that they usually enhance the image of those they attack.
Because vandals don't understand anything.
But they attack the same
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