Heavy boxes perform quick waltzes and jigs

In building a hypothetical system of relationships between a set of historical and personal events, and through the myth of coded information, the artist reveals a premonition of an impending catastrophe that will take place in a culturally important city, underscoring the vulnerable quality of the objects in a collection. Rather than considering it an announcement, this presentiment casts an ironic gaze on the artist’s supposed capacity to capture truths that are not within his grasp.

A series of the artist’s personal gathers have been manipulated, diminishing or destroying their innate properties and then exhibiting them on conventional supports with a heightened objectual quality. The intent of the paint that covers the collection of magazines and stickers is to take over the information expounded therein, suggesting the impossibility of reading, a constant in the artist’s praxis. At once, in the video-installation Evocación 01 the screen is partially cancelled out with writing in Bacon’s cipher (a 17th century binary code system), preventing a clear vision of a recompilation of videos on the flood.

Cortés-Santander’s work can be located within what he calls “the confines of art practice”, questioning systems of production without looking for objects that necessarily generate knowledge, alluding to impossible events which are nevertheless still potential for the person who generates them.