Non-Organic Life


Verónica Lehner

Carlos Bonil

Juan Melo

Federico Ovalles-Ar

Víctor David Garces

Laura Ceballos

Nicolás Cardenas

Luz Angela Lizarazo

Gabriel Zea + Camilo Martinez

Rafael Gómez Barros

Angélica Teuta

Andrés Matías Pinilla

Caroline Bray

Andrés Londoño

Curated by: John Angel Rodriguez


“Non-Organic Life” brings together artists addressing creative processes, which denature the origin of the materials employed or contradict the properties of its constituent references.

GCP’s architecture requires artists to establish a dialogue between the space and their procedures; therefore, the works displayed at this exhibition project were generated in situ. This gesture not only includes an appropriation of a site-specific intervention concept; it also becomes a fundamental aspect of the artworks exhibited in here, which also allows artists to create experimenting methods towards spatial interaction, this initiative aims to propose a waiver against figuration.

All life on Earth is based on organic biology, and “Non-Organic Life” considers the inorganic world as a nurturing playground of configurations. We believe that residual materials and inert substrates can express content regardless their original sources. Our exhibition “Non-Organic Life” brings together a group of art practitioners who are exploring the possibilities of inanimate life, using both installation resources and non-monumental materials.

The residual material found in a city generates a vast range of clusters. Looking at these masses as isolated segments, we can understand them as assemblages of micro environments, which were created from the accumulation of different volumes that coalesce and form a substratum. In the majority of cases these are incompatible materials, but due to the corrosive effect of weathering and neglection, they are compacted as solids. In turn, these clusters delocalized from its urban context resemble terrain formations. In some of these installations, we can distinguish surfaces which morphological structure shows a familiarity to images captured by satellite photographic devices.

The way we propose site-specific interventions to the artists in this project, give them a chance to perform an action of dissection and removing non-organic forms. This becomes a feature that provides a set of possibilities to explore the physical properties of each of these segments and configure a new cartography of inert landscapes.

Working with non-organic materials for experimentation was an early initiative during the second world war, known as the Manhattan Project (Los Alamos laboratories, New Mexico, USA, 1942). These facilities were initially devoted to research and development of nuclear weapons. The laboratory work culminated in the creation of different atomic devices. For instance, the bombs dropped on Hiroshima and Nagasaki were the result of collaborative work of several scientists at this center of research and innovation. The laboratory changed its orientation after the Cold War and diversified into new policy needs, no longer requiring the creation of mass destruction weapons. Consequently, their efforts migrated towards the research of anti-war technologies. Nuclear research was reduced to computer simulations, nevertheless, the atmosphere and the memories of the experiments developed in this area aroused various activists initiatives, protesting against the environmental damages and side effects caused to the population living there.

Non-Organic Life observes the accumulation of non-organic materials, thrown in different coordinates of our urban landscape as an environmental setback. The damages caused by these materials deposited along the streets cannot be compared to the nuclear experiments performed at Los Alamos Laboratories, however, each cluster of non-recyclable substance and non-biological cumulus contributes to the environmental imbalance of the urban environment. The artists at “Non-Organic Life” rescued and sometimes denatured the origin of these materials. Some play on the syntactic poetics of matter and others hope to revitalize these substrates by configuring immersive installations.

Andrés-Londoño-1web-scaled.jpg Andres-Londoño-2.jpg Andres-Londoño-3.jpg Andres-Londoño-3web.jpg Andrés-Londoño-5-scaled.jpg Andrés-Londoño-Web5-scaled.jpg Andres-Matias-1.jpg Andres-Matias2.jpg Angélica-Teuta-1-scaled.jpg Angélica-Teuta-4-scaled.jpg Angelica-Teuta.jpg Angelica-Teuta1.jpg Angelica-Teuta2.jpg Carlos-bonil-1-scaled.jpg Carlos-Bonil-01.jpg Carlos-Bonil-Delay.jpg Carlos-Bonil.jpg Carlos-Bonil1.jpg CarlosBonil2.jpg CarlosBonil3.jpg Caroline-Bray-3-scaled.jpg Caroline1.jpg Caroline2.jpg Caroline3.jpg Caroline4.jpg Caroline5.jpg Caroline6.jpg Caroline7.jpg Caroline8.jpg Caroline9.jpg Caroline10.jpg FB-Doble-Installation-View-scaled.jpg FB-Red-Detail-2-scaled.jpg FB-Red-Installation-View-scaled.jpg Federico-Ovalles-Ar-2-scaled.jpg Federico-Ovalles-Ar-3-scaled.jpg Federico-Ovalles-Ar-10-scaled.jpg Federico-Ovalles-Ar-13-scaled.jpg Federico.jpg Federico1.jpg Federico2.jpg Federico3.jpg Gabriel-Zea-y-Camilo-Martinez-2-scaled.jpg Ice-Hairs-scaled.jpg Ice-Rock-scaled.jpg Initial-reaction-copia-scaled.jpg Juan-Melo-4-scaled.jpg Juan-Melo.jpg LA-Lizarazo-caucheras.tif Laura-Ceballos-1-scaled.jpg Laura-Ceballos.jpg Laura-Cover.jpg Luz-Angela-1.jpg Luz-Angela-2.jpg Luz-Angela-3.jpg Luz-Ángela-Lizarazo-2-scaled.jpg Luz-Ángela-Lizarazo-5-scaled.jpg Luz-Detalle.jpg Nicolas-Cardenas.jpg Photo-explosion-scaled.jpg Photo-in-liquid-1-scaled.jpg Photo-in-liquid-2-scaled.jpg Rafael-Cover.jpg Rafael-GomesBarros.jpg Rafael-Gómez-Barros-2-scaled.jpg Robot-Juan-2.jpg Robot-Juan-Melo.jpg Verónica-Lehner-1-scaled.jpg Verónica-Lehner-3-scaled.jpg Verónica-Lehner-7-scaled.jpg Veronica1.jpg Veronica2.jpg Veronica3.jpg Víctor-David-Garcés-1-scaled.jpg Víctor-David-Garcés-2-scaled.jpg Víctor-David-Garcés-5-scaled.jpg Víctor-David-Garcés-8-scaled.jpg Victor1.jpg Victor2.jpg Victor3.jpg Victor4.jpg Zea-scaled.jpg zea1.jpg zea2.jpg zea3.jpg