Solo show - NC-Arte - Bogotá, 2015

In the exhibition Cómo lavar la loza coherentemente (‘How to do the dishes coherently’), the objects, rather than reveal themselves at first glance, become a medium to suggest new layers of history :
A. A fragment of an arch, a piece of a temple, or a ruin from the 80’s appear as vestiges of urban architectures (including religious structures).
B. A slide projection reveals an unfinished thread, made up of anecdotes and personal experiences.
C. Collages of layered sentences and images. One image filters another, sentences and references incite an interest beyond what is visible, yet avoid clear answers or solutions. They instead show an intertwining of ideas, archives, questions and stances.
D. The photographs, scattered throughout the exhibition space, could be the key to understanding the sense and the veracity of the narrated story.
Rumours about affiliations and ideologies in the development of films by Kodak are combined with fragments from the political history of Colombia, personal memories of the artist, our own memories, as well as with questions, political slogans, portraits, colour swatches, geometric drawings and surfaces.
During the Cold War, the Eastman Kodak Company discovered that Kodachrome pictures turned reddish with time. As red was the colour of Communism and Kodak wanted to avoid associations with an ideology, they changed the development process to Ektachrome, in which photographs eventually turn blue.
Iván Argote stumbled upon this history during research for projects developed in the last five years.
The artist presents Memory as a combination of spatiotemporal fragments ; he plays with this system to question our relationship to history, ideas and ideologies. A method the artist calls ‘documentary-frictions’, which he defines as a “reflection on the way we could take a stand in complex political contexts. Touching upon the friction between thought and action, political comment and taste, ideology and aesthetic, this approach does not seek to create oppositions but to reconcile all these ‘frictions’ and accept them as an unique entity”.
Of course this exhibition will not teach us how to do the dishes properly, but perhaps, as the artist says, we will learn to reconcile our dilemmas and contradictions.