The representation of the indigenous peoples in contemporary culture is a result of a mixture between the notions of respect for traditions and that of fascination with the exoticism of the other. The neo-colonial taste for Africa metaphorises and metabolises the structural violence of the world and the schizophrenia of the western inhabitant.

Javier Corcobado's unresolved project, Canción de amor de un día (or CADUD), consisted of a 24-hour track containing one hundred tracks composed by different authors and accompanied by their corresponding videos. For this Corcobado wrote a novel that he divided into 100 parts or tracks.

Track 64: Corazón apoltronado was given to Atom Rhumba with the guideline: "Odisea. Fulfillment of dreams / facts that impede their enjoyment. When I left the stage, I went to the dressing room and sat in a corner without talking to anyone. I felt happy because my dream had been fulfilled... But the fulfilment of that dream was to be accompanied by certain eventualities that would seriously cloud my happiness".

For the Track 64 video, Carlos TMori recovered the domestic images of Ángel Gutiérrez Jaén, which he filmed on his trip to Tanzania in the 1990s, choosing scenes of wild animals and, above all, traditional dances performed by pupils from the Marist School of Lake Victoria. From particular points of view, he reinterpreted the domestic recording, altering the selection and editing to match the rhythm of the theme. It was a manipulation, denaturalising of the paternalistic gaze on native traditions, which provokes a certain affectionate uneasiness. The admiration for the young dancers gives way to a theatrical representation of the potential threats in this paradise to be resolved in visual relations between the diverse fauna of the area.

The crude and contradictory use of home recording – manipulating time and, ultimately, using defect and noise as an anti-aesthetic canon and anti-video clip – is used as a narrative element, invoking the essence of the imperfection of the human character. Through disassembly, the causal chain of an open-ended, never-ending narrative is broken, and to another kind of representation of archetypes, trying to summon an affective return. A festive work, with its grey areas, committed to a candid representation of an area of Tanzania protected by the missionaries.

– Manuel Villamediana Bayón