Reset presents a degree zero in which destruction evokes potential construction. It is, at the same time, a survival mechanism, a possibility that remains viable when previous ones have been exhausted. The concept of “reset” is as tangible in operating systems as it is intangible and unreal in history, since history is characterized by an interaction of superimposed temporal layers. In reviewing the 200-year history of Colombia and learning that more than half of it has involved war, I fantasize about the idea of starting over.

The management of land in Colombia has been an overarching issue related to the 50-year armed conflict and the violence that has invaded the country since its foundations. This extends from the large areas of land stolen from indigenous and peasant communities and continues with corruption in the management of vacant lots. According to some sources, 70% of the territory belongs to 1% of the population, a figure that makes Colombia one of the countries with the worst land distribution in Latin America. Added to this is the fact that there is no certainty as to who owns the land because the cadastre is outdated and the authorities are uninterested in updating it. In the sculpture-performance Reset, I present three proposals for territorial redistribution based on the random contact between mud, gravity, and ground.

Reset is part of the digital collection of the National Center for Historical Memory of Colombia and the permanent collection of Museo de Arte Moderno de Bogotá.