Rafael Gomezbarros introduces the design of an ephemeral intervention project in which he proposes to occupy 50 square meters surrounding the Bolivar statue, at Bogotá´s main square: 12,000 empty gas cylinders used as bricks held on a structure, make up the walls inside what may be considered almost impassable: a labyrinth. The proposal gives new meanings to war devices (weapons and ammunition) joining through the course with its intimidating presence inside these structures, not to think about the dialogue but about the implementation.
Even though these were not molten, they were not death machines either, used for liquefied butane and propane combustible gas distribution, closed and pressurized, for personal and industrial use, were initially allies in the kitchen, lighting or heating and, on the same way, helped to build an in-walls household space, that have been drafted by force as weapons to make those same walls and many others explode, unconventional weapons loaded with explosive and grapeshot (in order to make more damage), shot at distance by handmade mortars as projectiles which destructive range was extremely high to compensate, according to the conflict´s numbers, their low targeting precision. The disasters they produced, became emblematic as a highlight of the complete lack of security of vulnerable towns briefly visible after the events occurred.
Under the name Returning to the Seed, he proposes to take over the capital district´s agora to make a collective exercise of confrontation with the recent memory. The Liberator, temporarily deprived from his freedom, is imprisoned inside four walls higher and thicker from the other structures risen around them, built up with scrapped cylinders surrounding the platform where the Bolivar statue is placed, unexpected and immobile Minotaur, it constitutes simultaneously this circuit´s exit with a wide opening placed behind him. The project gives a new meaning to violence architecture as a challenge: to find in the image of hostility possible paths towards peace. There is no need to see there an encounter with a historic founding (founder or foundational) landmark as the one we find on myth and legend heroes who achieve a stability after the settling, but a work that assumes, as well, the dynamic and ductile field of what is fertile.
RETURNING TO THE SEED