STORY OF AN EVASION: OPERATION CUORI LIBERI ACT II (LIBERATION OF TWO PIGS FROM A SLAUGHTERHOUSE)
{editor’s note: This is the video of an already reported action by 269 liberation animale}
“This is a tale about an evasion. A tale about borders, blown up by direct action.
Borders between those who can transform, who can achieve a metamorphosis, and others.
Others who are trapped, locked up, stuck in a non-existence, in a body that became “their jail”. Others, who have been deprived of a future.
This is a tale about a bunch of comrades, mainly women, who decided that direct action wasn’t solely a thing for guys who like camo clothing, and feeling part of a self proclaimed elite.
This is the story of a collective, in red and black, that decided to show that the ones at the bottom, fight, and that all bodies, even the most messed up or the most destroyed ones are here to take part in a revolution.
We took those acts and made them viral, joyful and fun.
Even if a crowbar weighs twice as much for those who have to get rid of the coat of social order before taking action, nothing ever made us turn around.
Animals are no step stools to our feminism.
On that night, we were out for them, and most importantly, with them.
With animals drowning between walls of farms and slaughterhouses.
Forgotten by all, left to die in the machine, and whose calls for help remain ignored and unanswered.
The life of an animal is a life lived as a film negative.
An existence against itself.
“Bodies having to steal themselves if they want to survive”.
Maybe being part of a social minority makes us feel like acting harder, better, faster ?
We chose immediate impact, rather than stagnating in an abstract antispeciest scene full of empty words, far from animals.
It’s a fight that takes us right to their jails, to commit an escape.
All of a sudden, animals start flying above metal fences, breaking through obstacles, stopping the relentless murdering machine and finally, they can write their name in history. Always by breaking into it, and always through the big front door.
There, where the “undercover camera” that shows us the most cruel acts taking place in the slaughterhouse, does nothing else but reminding us of the desubjectification in wich animals getting killed and workers turned executioners are being placed.
In this very location, a slaughterhouse, direct action allows us to invent another end for animals.
To interrupt the way things would go.
It throws us in a powerful and emotional dimension, because there’s a direct connection between one’s body and their political power.
To those we left behind.
‘To girls who’s eye liner looks better than the future.'”
