Entropy refers to a complex concept of physics that in simple words could be expressed as the tendency of any system to mess up. The more complex the system is, the greater will be its entropy as well as the irreversibility of some processes.
Under this concept of entropy, the different parts articulate in a plastic proposal made in the Three Courtyards House. Through the landscape, as a non-conventional aesthetic proposal, appears the reflection around facts and events of contemporary societies when addressing the global and local environments, whose processes trigger uncertain or problematic situations on nature and culture, occasionally irreversible.
Some highly significant clues taken from the daily written press are transformed into more complex formal groups that are jointly developed with the spatiality of the Three Courtyards House, transforming it and transforming themselves into new, revealing aesthetic realities of senses expanded on relevant developments of the present and future life of our societies and their living environment.
Camouflaged landscape, Urban landscape , Interior landscape , are the works in this tryptic and as such can occur together, separated, or individually.
The wounded land, image taken from the local press (landslides caused by illegal coca crops), is re-proposed in a multiplicative action which refers to the immensity of the territorial disaster and, combined with the symbolism of the flood, enga-ges us in the immeasurable magnitude of the deforestation blunder we are witnessing through-out the national territory.
Photo: Donaldo Zuluaga
The cement floor enamel in one of the rooms, reminiscent of the presence of the turbulent waters and their rush, operates as a detonator for the spatial formal construction and signifi-cance of this work.
Images that appeared in the press and arouse a great turmoil look for a formal and significant output which imposes from the depths of the unconscious by associating with a highly con-noted spatiality of an underlying historical fact at the bottom of personal and collective memories.
Staging the delivery of the arsenal of a paramilitary surrender (Photo: Daniel Muñoz, Reuters-Sogamoso), brings back to our days the delivery of a room full of golden objects from an Incas treasure, to pay the ransom of Atahualpa, the last of their kings.
The resonance of an image that appears in the press (Photo: Jaime Pérez Múnevar), echoes the meaning of an urban imposing and demanding experience that moves us permanently as part of the natural way of life in the contemporary city.
This visual clue is associated and reproduces itself as an artificial organism, that is unable to recognize limits or boundaries, expanding at free will.As a mat, this new visual conformation ex-tends across the room floor, allowing the obser-ver to walk on it to overcome the powerful attrac-tion of this invasive force.
The chromatic inversion of the terrestrial poles, where a mat of automobiles protrudes to raise unsuspected dimensions about its invasive capacity, leads to a total experience of the transgression of known limits, taking us to ima-ginary, uncertain and troubling regions, as a retrospective view from a hypothetical planetary future, by no means impossible, if we fail to control the imminent chaos.
The video provides another dimension, that of mobility and sound that make part of this entropy, or tendency to disorder, to chaos, in the strict sense of the word in this case, and raises an experience of disrupted limits; the interior that becomes exterior, the day that has become night and the other way around; color that goes beyond the established limits; light that has become black, the window that is another window.
Video projection on window - screen.Visible from inside and outside of the C3P.
Duration: 30'28'', looping.
Exhibition Tour on 3 Courtyards House
Three Courtyards House landscape
The night landscape descends to one of the three courtyards.