80M2 Livia Benavides presents artworks that explore the link between landscape and objects. These objects act as a statement against the conditions that humankind imposes on nature through the industrial process. Oscar Santillán and Adán Vallecillo attempt to empower the landscapes and restore their dignity by returning to them their rightful autonomy.
Adán Vallecillo’s work revolves around the reutilization of industrial waste with social and political history. In his project for LARA 2018, Fósiles, Escalas y Expandibles, he investigated the final destination of waste generated by the Panama Canal. This led him to discover an industrial recollection site for machine parts and waste. Vallecillo then constructed minimal drawings and sculptures from the shapes and patterns left by carbon monoxide and oil deterioration remaining on machine paper filters. Vallecillo intervenes to form subtle abstractions that try to incite doubt on the apparent neatness of things, as well as reverting a certain common sense that geometric abstraction tried to establish; that art can be cleansed of its social environment.
On the other hand, Oscar Santillán presents Solaris, a project developed in the Atacama desert. This geographical space is the driest place on Earth, ideal for astronomical observation. Santillán took sand from the ground and melted it to create lenses, then used to photograph the desert at different times of the day. This process suggests a landscape looking back to itself, like a subject in introspection. The object is a mean to transform landscape into an individual. This relates to Andean astronomy, which historically has used bowls with water (water mirrors) as astronomical observatories in which to study the night sky. In the case of Santillán, this idea is applied to the same soil sand as an eye that allows to see the world. This project was also nourished by “Solaris”, the science fiction novel by Stanislaw Lem about a self-conscious planet.