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Sketch, Bogotá, Colombia
November 12, 2015 – January 15, 2016




It isn’t black, nor white, and neither gray, and in an unfixed position, Margaritas is made out of fictions which are broken into two moments –the things that already exist and the mutation of these existences. In this process, what persists is represented in images and objects, and its transformation is a continuation of themselves, in a sequence of operations that are based on sculptural, pictorial and narrative principles.

Some drawings suggest a silence and are close to comics in its composition, others become a gesture where time is a replaceable variable and these prove a performative act. The paintings isolate. The sculptures are more assemblages than objects, and in a state of suspension, tension and compression, each piece is essential to justify a dialogue within each other, intimately related, suggesting a physical dependence that simulates the presence of an organism. The video The last dream of Armando is an assemblage as well, the content is mainly photographs of the artist and images found on the Internet. Together, they create an incomplete story, its not the beginning nor the end, it rather stands in the middle of a series of events ranging from non-existent rituals and mythological chronicles, to the brain trepanation as a treatment for removing dreams. If a line is drawn between reality and fiction, it is in the background of this video where the illusion of Margaritas is detained.

With an ironic tone, each piece in the space is a decision thought as a knot that joins and articulates, and in the case of the nautical knot named Margarita, its function is to reduce the length of a rope without cutting it, in an unusual bond, without being weakened or transformed, preserving its integrity. Thus the framework of the exhibition is constructed by this analogy, where almost everything is an abstraction, imitating the logic of subversion, and following the rhythm of the Trojan horse, if there is something that looks like reality it’s only conciliation between Margaritas and its interpretation.

Courtesy of Sketch, Bogotá


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