# santiagocolombo.com ## Posts - [The Earth is a liquid ball](https://santiagocolombo.com/the-earth-is-a-liquid-ball/): Dressing rooms are spaces that are often inhabited to an extreme. Most of the time, they remain empty, submerged in an ordered and empty calm, waiting for their moment. Then, when inhabited—whether by actors, musicians, or lecturers—the spaces are filled with piles of foreign materials, a space of preparation and transformation, more or less disordered but full of elements, a workshop space used before and after the performance. It is the in-between space, a threshold that serves as an intermediary between fiction and non-fiction. The actors prepare for the play, leaving behind personal objects that mark their identity as actors, ... Leer más - [Untitled (hammers)](https://santiagocolombo.com/untitled-hammers/): – - [Inherit the wind](https://santiagocolombo.com/inherit-the-wind/): Between 2017 and 2018 I traveled twice to Chile from Buenos Aires. On these two trips I made a lot of records, in the form of drawings in my travel notebook, photos and videos. Taking up the idea of a ‘travel book’, I make this video where I take the drawings, photos and notes made during the trips to turn them into an animated video, accompanying the song ‘Heredarás el viento’ by Matías García. - [Without title, without end](https://santiagocolombo.com/without-title-without-end/): When an object moves, it seems to come to life. Objects breathe, blink. They move to their own rhythm, as if they were possessed. Ghostly objects that repeat behind them hidden messages in the cadence, the pulses, and the Morse code. A ghost makes present again what gives it meaning. Like an echo or a trace, they are never the same as they once were. They send signals, communicate in an encrypted and unintelligible message. - [Water and landmarks](https://santiagocolombo.com/water-and-landmarks/): As part of the artistic project Pedalúdico, in charge of Fabián Wagmister (professor at UCLA and founding director of REMAP), we ideated and created a performative bike riding on the he public space of Buenos Aires City, influenced by the Situationism concept of dérive (Guy Debord). Together with two artists from Chaco and Bogotá, we conceived and made ‘El agua y los hitos [Water And Landmarks]’ which central axis was the movement around different water strata of Buenos Aires City (fountains, buried streams, buildings related to the water infrastructure, etc.) culminating on the Rio de La Plata coast. During the ... Leer más - [Der Geier](https://santiagocolombo.com/der-geier/) - [An accident](https://santiagocolombo.com/an-accident/): “The bruises of things are deciphered, and then subjected to interpretation. Things are made to speak—often by subjecting them to additional violence. The field of forensics can be understood as the torture of objects, which are expected to tell all, just as when humans are interrogated. Things often have to be destroyed, dissolved in acid, cut apart, or dismantled in order to tell their full story. To affirm the thing also means participating in its collision with history” Hito Steyerl, The Wretched of the Screen An accident is an installation project that explores the idea of accident, glitch and ruin; ... Leer más - [My memory is a dumping ground of trash](https://santiagocolombo.com/my-memory-is-a-dumping-ground-of-trash/): – - [Remnants of history drift](https://santiagocolombo.com/remnants-of-history-drift/): Remnants of history drift is an installation installation. In it, two stepper motors connected by Arduino wind two spools of thread at half a turn per minute. You can barely see the movement of the thread but, after a few days, the 680 turns of thread are finished, leading to the end of the exhibition. - [When all you have is a hammer, everything looks like a nail](https://santiagocolombo.com/when-all-you-have-is-a-hammer-everything-looks-like-a-nail/): The table fills with objects. Glasses, cups, plates—common, everyday items—mix with memories, personal belongings, and decorative pieces. In front of it, a motor with a counterweight is placed. As the motor turns, it will gradually pull a wooden rod connected to it by a cable, located at the opposite end of the table, dragging everything off the surface and onto the floor. The performer, positioned beside the motor, is responsible for winding a second cord—a necessary participant in the mechanism, part of the gearwork that brings everything crashing down. After fifteen minutes, everything will have fallen to the ground, and ... Leer más - [User Manual](https://santiagocolombo.com/user-manual/): The “User Manual” project takes up the exhibited and winning works of the La Plata Cinquantenary Hall (1932) and the Joven and Molina Campos Art Halls of 2018 of the Emilio Pettoruti Museum of Fine Arts. Retrieving information about the works that appear in the catalogs (titles, procedures, materials and techniques), “Manual of Uses” proposes an installation with the intention of investigating these technical data in artistic practice through the reflection and appropriation of the same. In light of possible articulations and translations between the linguistic and visual worlds, the installation presents an experience to (re)think the processes of artistic ... Leer más - [Can you take care of this for me?](https://santiagocolombo.com/can-you-take-care-of-this-for-me/): We usually remake our concept of what the past is, based on collective or individual ideas of what we remember or think we remember. We make new connections and interpretations, which change over time, of old events; and many times we use these fragments, these modified memories, as a way to justify our present. Borges said that the past has no reality of its own, but as a present memory, just as the future is nothing but present hope. A. Dolina had the theory, in this regard, that the texts, the fragments of texts and the traces that come down ... Leer más - [Touch I](https://santiagocolombo.com/touch-i/): “Those who think that all sensations reach us through sight and hearing have expressed surprise to see that I could notice, in that rural setting, any difference—except, perhaps, the absence of pavement—between walking on city streets and country roads. It is forgotten that it is my entire body that remains subject to the surrounding conditions. (…) The rolling of wheels on hard pavement and the monotonous noise accompanying the operation of machinery strain the nerves even more if our attention is not distracted by the ever-present panorama of noisy streets in front of those who enjoy sight.” (Helen Keller, Story ... Leer más - [-44.32310913752188, -5.635904751041553](https://santiagocolombo.com/44-32310913752188-5-635904751041553/): -44.32310913752188, -5.635904751041553 tries to condense 97 minutes of photographic record made over 4 months on a serie of 3D photogrammetries overlapped on the same digital space. This shows two spaces which were my houses in 2021, one in Argentina and the other in Spain. As the pieces follow and mix each others, the places start to merge into one. The limits of here and there, with now and before, are blurred. The further we move away from its center, more these empty and incomplete objects lost their details and started to be ereased as they fall and fall apart, like ... Leer más - [Moon](https://santiagocolombo.com/moon/): “Beneath the blossoms with a pot of wine, No friends at hand, so I poured alone; I raised my cup to invite the moon, Turned to my shadow, and we became three. Now the moon had never learned about drinking, And my shadow had merely followed my form, But I quickly made friends with the moon and my shadow; To find pleasure in life, make the most of the spring. Whenever I sang, the moon swayed with me; Whenever I danced, my shadow went wild. Drinking, we shared our enjoyment together; Drunk, then each went off on his own. But ... Leer más - [A Tribute to Cándido López](https://santiagocolombo.com/a-tribute-to-candido-lopez/): – - [As I woke up, the sky was still dark](https://santiagocolombo.com/as-i-woke-up-the-sky-was-still-dark/): In the pieces, the camera silently travels through different digital spaces that are presented as ruins. Empty spaces but with clear signs of having been inhabited, are corroded because of the glitches, the gaps in the 3D models, the black water that advances, as if covering everything. The spectral spaces blur their limits, opening the way to memory and ghosts that seem to pass through the empty mesh of the models, and that reveal, behind them, the infinite and homogeneous space of the digital grid. - [To earn a crooked sixpence you'll walk many crooked miles](https://santiagocolombo.com/to-earn-a-crooked-sixpence-youll-walk-many-a-crooked-mile/): The project stems from the idea of combining several topics that interest me: walking and cycling routes, territory, trace, analog photography, and absurd measurements. At the beginning of 2024, I was traveling 3.6 km every day from my home to the Círculo de Bellas Artes in Madrid, where I was attending a Master’s program in Arts. Based on that distance, I came up with the idea of documenting one of these walks by taking a photograph with my analog camera every 100 meters, until I completed both the roll and the journey. This then became a method for recording routes, ... Leer más - [Odio la luz azul al oído](https://santiagocolombo.com/odio-la-luz-azul-al-oido/): “The wounds of things are deciphered and then subjected to interpretation. Things are made to speak, often subjected to additional violence in the process. The field of forensic medicine can be understood as the torture of objects, from which we expect full disclosure—just as we do from human beings when they are interrogated. Frequently, things must be destroyed, dissolved in acid, cut, or dismantled in order to make them tell their full story. To affirm the thing also means to make it collide with history.” —Hito Steyerl, The Wretched of the Screen - [ID photo / 5.418528796 E+2639](https://santiagocolombo.com/id-photo-5-418528796-e2639/): Digital program that randomly rearranges the pixels of the 32×32-pixel ID photo from my university diploma once per second. The title refers to the number of years it would statistically take for the original image of my face to appear, for just one second. - [Until I remember a dream I had before](https://santiagocolombo.com/until-i-remember-a-dream-i-had-before/): “We dream in order to forget […] attempting to remember one’s dreams should perhaps not be encouraged, because such remembering may help to retain patterns of thought wich are better forgotten. There are the very patterns the organism was attempting to damp down” (The function of dream sleep (1983), Francis Crick & Greame Mitchison) We don’t have direct access to our dreams. We only access them through our memory, which in the vigil we remember. Here we add narration and meaning to what was, in the first instance, multiple and simultaneous. The images and evocations become significant. What was once ... Leer más - [Measuring time](https://santiagocolombo.com/measure-time/): Digital program that calculates the size of the area subscribed by a triangle generated by the tips of the three hands of an analog clock. - [Blinks](https://santiagocolombo.com/blinks/): While advancing along the road, the headlights, like immovable landmarks, mark the correct route for those who know how to interpret their signs. A particular light cadence translates the geographical coordinates and, like a clock that with the arbitrary position of its hands marks the hours, assures us that we are in this or that place. These involuntary lighthouses position us on an unattainable and sporadic map. The data remains but its primary function is lost, and yet, as we move forward, it gives us, from time to time, little glimpses of beauty. - [Untitled (circle)](https://santiagocolombo.com/untitled-circle/): – - [Touch II](https://santiagocolombo.com/touch-ii/): “Tacto II is a work that talks about the slow passing of time and the traces that bodies print on spaces, either by leaving a visible trace or by the minute noises dispersed in the air. Fragments of bodies made with ceramic are adapted into simple iron mechanisms that do not hide their gears. On the basis of works that reproduce the same type of mechanism, Santiago Colombo works on small human gestures, which with repeated movements, wear down their matter.” (Tainá Azeredo ‘Espacio Entre’ CC Recoleta) - [An imprecise memory, of a fact or a thing, comes to my mind](https://santiagocolombo.com/an-imprecise-memory-of-a-fact-or-a-thing-comes-to-my-mind/): This exhibition consists of three parts or pieces: At first, a gearmotor located inside the Museum Room drags a slowly wear two Ctibor bricks, one located in the Museum Courtyard and the other in the Hall an the other one in the Room, leaving behind the trace and wear of the materials. Inside the Room, you can also see two panels, one of 72 printed photographs of details, fragments and elements out of focus, taken on the Factory and Ctibor Museum; and a second on of 72 black and white paintings with shapes and compositions taken from these photographs. Finally ... Leer más - [Untitled (stairs)](https://santiagocolombo.com/untitled-stairs/): “The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.” (Myth of Sisyphus, Albert Camus) - [You should have been there](https://santiagocolombo.com/you-should-have-been-there/): Synesthesia is what helps us locate our body in space, to know where our legs or arms are, or in which direction we’re moving. But this idea may not be entirely accurate—each person has their own mental image of their body or the size their head occupies. We are constantly measuring our own body in an unconscious way and using it as a reference to measure the world around us. Touch ultimately shows us that we inhabit a three-dimensional world. We look at a photograph and believe we can recall the sticky humidity of a summer day, or the rough ... Leer más - [Untitled (brick)](https://santiagocolombo.com/untitled-brick/): A machine wears down, slowly and constantly tortures a brick. Ceramic against steel. The metal tip digs a path on the surface of the brick while it itself wears away, under tension, in slow motion. The imprint and erosion on the stone makes visible the repetitive action that wears down the material. The signs of the stone condense the marks of her memory and the violence to which she was subjected. The weight and the traffic that escapes, like water, along its paths. The work comes from my transit through the Residence of the Ctibor Brick Factory and my research ... Leer más - [Wish I had more opportunities to remember some things so I couldn't have so much pressure on my head](https://santiagocolombo.com/wish-i-had-more-more-opportunities-to-remember-some-things-so-i-couldnt-have-so-much-pressure-on-my-head/): A hollow plaster head filled with graphite powder is slowly but steadily pressed by a bench vise connected to a gear motor. The vise compresses almost imperceptibly, at a rate of one revolution per hour. After 40 hours (or, in other words, a standard 40-hour work week), the vise will fully close, completing the destruction of the head. When this has happened, a new head will take its place, and the cycle will repeat, as it does every week. The graphite powder that falls to the floor over the course of the days, alongside the destroyed head, materializes the passage ... Leer más - [The trouble with throwing things is that you have to clean up afterwards](https://santiagocolombo.com/the-trouble-with-throwing-things-is-that-you-have-to-clean-up-afterwards/): A digital program created with JavaScript, where the speed of the 180 frames in the trajectory of a plate from my hand to when it breaks against the floor is sequentially slowed down. The first frame lasts 1/30 of a second, and each frame lasts 1.4 times the duration of the previous frame. The speed of the frames and the plate will progressively decrease until it almost seems to stop, but still moves. Like Zeno’s Arrow, the plate will never reach its destination. In its progressive deceleration, the plate would take approximately 5.30424029 E+17 years to reach the floor and ... Leer más - [Greyhounds](https://santiagocolombo.com/greyhounds/): – - [Untitled (bicycle)](https://santiagocolombo.com/untitled-bicycle/): – - [What are you looking for?](https://santiagocolombo.com/what-are-you-looking-for/): – - [Walkers](https://santiagocolombo.com/walkers/): Walkers is an installation animation piece that condenses my transit through the Maison des Auteurs and BilbaoArte Fundazioa in the Irudika Residence, focusing on the process, the space and the materiality as an intrinsic part of the work. A series of characters, based on personal experiences, sequentially and fleetingly cross the screen, giving an account of my own transit through the residence. I worked with 500 A5 sheets to make an animated video of 41.6 seconds duration; incorporating the margins of the paper, the animation register and the ‘behind the scenes’ where the photographs were taken; including what is usually ... Leer más ## Pages - [cv](https://santiagocolombo.com/cv/): cv Academic Studies INDIVIDUAL AND DUO EXHIBITIONS RESIDENCIES awards gruop exhibitions other courses and workshops - [works](https://santiagocolombo.com/works/) - [proyectos colaborativos](https://santiagocolombo.com/proyectos-colaborativos/): We are currently working on this section. The content will be available in the coming days. - [textos](https://santiagocolombo.com/textos/): We are currently working on this section. The content will be available in the coming days. Elemento 1 Añade aquí tu texto de cabecera Elemento 2 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo. Elemento 3 Añade aquí tu texto de cabecera Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo. - [bio](https://santiagocolombo.com/bio/): BIO [Arg, 1992]. Visual and audiovisual artist. In his works he investigates the memory of objects, materialities and how they are affected, traces, ghosts, the temporal and the cadences of objects. He explores the limits of video and animation techniques and media, as well as the confluence between the digital/non-digital, the haptic materialities of sculptures, mechanical objects and materialities, the ethereality of the digital, CGI and territory. He is interested in the exploration of material, kinetic and digital practices and aesthetics, and how these can coexist in other and material worlds. Master in Contemporary Art – Círculo de Bellas Artes ... Leer más - [Inicio](https://santiagocolombo.com/) - [Proyecto uno](https://santiagocolombo.com/proyecto-uno/) [comment]: # (Generated by Hostinger Tools Plugin)