This project, shown at the Nueveochenta gallery in October 2013, is the second experience of the SOMOS MARCA laboratory initiated in Buenos Aires in 2012 and exhibited at the Ernesto de la Carcova Exhibition Hall of the Faculty of Visual Arts of the National University Institute of Arts of Argentina.
Marca es una serie compuesta de paisajes pintados a partir de fotografías de archivo en que el motivo central son vistas callejeras de comercios hoy inexistentes y que formaron parte de la Bogotá· del siglo XX. Cada paisaje esta· compuesto como un puzzle en que la unidad mínima es una pieza hecha de servilleta ya usada y encontrada en comidas rápidas de cadenas multinacionales; luego pintada con coca-cola y ketchup; y finalmente, dispuesta en una bolsa Ziploc a la manera de la evidencia forense o para conservarlo y aislar sus olores como los alimentos de la heladera.
Marca is a series of landscapes painted from archival photographs in which the central subject is the street views of stores that do not exist today, that were part of the 20th century Bogota. Each landscape is made as a puzzle in which the minimum piece is a napkin found in fast-food restaurants of multinational chains. Then, painted with Coca-Cola and ketchup. And finally, placed in a Ziploc bag in the style of forensic evidence, or to preserve it and isolate its odors. Like the food in the refrigerator.
The pieces, waste from the global consumption chain, are arranged to make a landscape of local capitalism. It creates a satirical dialogue with the old commerce system that was displaced. Thus, it makes a form disappear and suggests the disappearance of urban habits in exchange for new transnational ways. The used and discarded napkin, the pigment of Coca-Cola and ketchup, and the Ziploc conservation appear as truthful supports not only of a contemporary form of uniformed life. Also, they appear as territory, in which the local memory must be touched to imagine its identity origin, today physically extinguished.
Mark upon mark, the colonialist transformation of the local into the foreign, a detrimental mechanism of continuous uprooting and dehumanization that has reached its critical moment after the first decade of the century.
The napkin (doubly marked in its origin), intervened with an illustration brand, evokes the extinct local brands, contained in a bag of evidence (police and isolation). It tries to show that what happens there could be relevant proof of the effect caused by the penetration of these multinational brands in our fragile economies and cultures.
Each one of the pieces obeys their infinite and global repetition. The pieces collide with stains of use, which by some incomprehensible chance, group and order themselves. They give origin to a recognizable landscape of memory that groups gathered fragments. Here, the opposite of the mandates of the society of the spectacle is conjured up. If the mandates of the society of the spectacle say: Gather, but separately, we say: Gather fragments to weave with the community.