Historias son fantasmas de dominio público

(“Historias son fantasmas de dominio público/Histories are ghosts from public domain” was presented in Sketch gallery, Bogotá, between October 21st and November 15th of 2018)

Printed invitation poster, cover side. Design in collaboration with Maria Jimena Sanchez, 50 cm x 35 cm, 2018.

Printed invitation poster, interior side. Design in collaboration with Maria Jimena Sanchez, 50 cm x 35 cm, 2018


Here we hear a voice, a voice that narrates a compendium of stories compiled and built during the last years. Some arise from conversations, others from interviews, others are simply heard while some are altered, invented and mixed with the previously written history. If they have something in common, it is their elevation to unknown or rather hidden dimensions, so hidden that they seem to be a lie, or rather a myth in their absurd body, claiming their own territory. In this exhibition the concept of mythology is explored as a form of social, political and spiritual structuring, well for some, mythology is a vehicle for liberation, it is faith deposited in its cosmogony, it is the emancipation of everything alien to its dimension, a field without rules – a caricature of history. On this occasion, presented in the form of an essay, a series of visual and sound compositions, where narrative is an instrument of encounter to conceive multiple realities, unfolding a past to confront the tribunes of the present and thus become ghosts of the future.

Aquí se oye una voz, una voz que narra un compendio de historias acumuladas y construidas durante los últimos años. Algunas surgen de conversaciones, otras de entrevistas, otras son simplemente escuchadas mientras unas son alteradas, inventadas y mezcladas con la historia ya escrita. Si algo tienen en común, es su elevación a dimensiones desconocidas o más bien ocultas, tan ocultas que parecen ser mentira, o más bien mito en su absurdo cuerpo, reclamando su propio territorio. En esta muestra se explora el concepto de mitología como una forma de estructuración social, política y espiritual, pues para unos la mitología es un vehículo para alcanzar la liberación, es su fe depositada en su cosmogonía, es la emancipación a todo lo ajeno de su dimensión, un campo sin reglas –una caricaturización de la historia. En esta ocasión, se presenta a manera de ensayo una serie de composiciones visuales y sonoras, donde la narrativa es un instrumento de encuentro para confeccionar múltiples realidades, desdoblando un pasado para enfrentarse con las tribunas del presente y devenir fantasmas del futuro.

(This audio piece was written as an audio-guide or/and set of commentaries to follow the rest of pieces in the exhibition, it was installed in the three floors of the gallery space and was played during the whole exhibition. Original audio recorded only in spanish. 2017)

T.R.A.P (Tigre/Tiger, Ratón/Mouse, Águila/Eagle, Pez/Fish). Piece installed on floor, low relief and enamel on gray marble, 40 cm x 30 cm, 2017.

T.R.A.P (Tigre/Tiger, Ratón/Mouse, Águila/Eagle, Pez/Fish). Piece installed on wall, low relief and enamel on gray marble, 40 cm x 30 cm, 2017.

Installation view of T.R.A.P as a talisman for the totality of the exhibition.

First floor view with video “Collapse” and audio installation “Congregation does not mean unity”, 2017

Video Collapse, 60”, one channel video HD, 2016 (For further information on the video please follow this link)

Second floor view with “Cyclical Narratives #2” and one drawing of diptych “Copies of an imitation”, 2017.

Second floor view with “Cyclical Narratives #2” and diptych “Copies of an imitation”, 2017.

“Copies of an imitation”, detail of both drawings. 39 cm x 27 cm each, 2017. 

“Cyclical Narratives #2”. Assemblage with books, 75 cm x 75 cm x 27 cm. Unique edition, 2017. (For details please follow this link).

Cyclical Narratives is an on-going series beginning in 2015, where symbols and images from graphics of existing book covers (most of them produced between 1900 and 1980) are used to forge extra stories from the lineal union of setting them next to each other. The elliptical positioning suggests a cyclical reading, allowing multiple ways of interpreting the visual grammatical body and circulating the piece. These books are previously collected from different places and countries, then sealed and fixed to exclude the original content and physically structure the assembling pieces into one narrative organism.

Second floor view with video “The chickens of Mr. Barrett” and one drawing of diptych “Copies of an imitation”, 2017.

The chickens of Mr. Barrett, 13’04”. Single channel HD video, 2017. (For further information, please follow this link)

Third floor view with drawing series “Ghosts from public domains” and installation “Congregation does not mean unity”, 2017.

Third floor view with drawing series “Ghosts from public domains” and installation “Congregation does not mean unity”, 2017.

Third floor view with drawing series “Ghosts from public domains” and installation “Congregation does not mean unity”, 2017.

Detail drawing series “Ghosts from public domains”, 2017. (To see full series please follow this link).

Third floor view with drawing series “Ghosts from public domains” and installation “Congregation does not mean unity”, 2017.

Detail of “Congregation does not mean unity”. Pendulum, belgian blue stone, 2017.

Detail of “Congregation does not mean unity”. Wedge, belgian blue stone, 2017.

Detail of “Congregation does not mean unity”. Human statue, clay, 2017.

Detail of “Congregation does not mean unity”. The rider, embroidery, 2017.

Detail of “Congregation does not mean unity”. Pendulum, Carara marble, 2017.

Detail of “Congregation does not mean unity”. A couple of Herons, brass, 2017.

Detail of “Congregation does not mean unity”. 30-86-98, iron weight and butterfly taxidermy (gift from my father to my mother), 2017.

Detail of “Congregation does not mean unity”. Sphere and cube, lead and pyrite, 2017.

Detail of “Congregation does not mean unity”. A cutting tool and dancing men, lime stone and septarian stone, 2017.

Detail of “Congregation does not mean unity”. Indian coin from 1818 and magnifying glass, 2017.

Detail of “Congregation does not mean unity”. “Y”, engraving on granite stone, 2017.

Detail of “Congregation does not mean unity”. Stone sharpener and lead leather weight, 2017.


Images courtesy of Sketch gallery, 2017

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