Alexander Apóstol, ‘Le Corbusier Quemado Bogotá’, 2005, Mor Charpentier

Along the '40s and '50s, Le Corbusier
designed for the city of Bogota in Colombia, a
huge project of modern city on the ancient
city already established, but for several
reasons it never built. However conceived a
citadel of 23 buildings, Nariño Center,
developed by leading Colombian architects
but clearly the hallmark of his work.
Some of these buildings, with even basic
furniture, were awarded to uni ver sity
students coming from the province to the city.
During the '60s, and among student political
protests, some of these buildings were
burned with the furniture inside, leaving their
shadows on the walls and some objects
standing amid the ashes.
Thirty years later, the burned landscape from
inside the apartment is still intact, as the
shadow of your furniture and holes in your
electrical outlets and water, showing not only
the violence of the fire, but also on the
metaphor for the continuing violence on
Colombia sleep and inability to function in
modern thinking about Latin American cities

About Alexander Apóstol

Alexander Apóstol is a multimedia conceptual artist who engages with a politically charged history of Latin America through the lenses of urban planning, culture, and architecture. His body of work is comprised of photographs, films, installations, and texts. A recurring subject in Apóstol’s work is the 1950s and the architectural planning simultaneously taking place in a number of countries, like the modernist planning of Caracas, Venezuela; Le Corbusier’s designs for Bogotá, Colombia; and the erection of the Dodgers Stadium in Chavez Ravine. Apóstol’s rendering of these events seeks to establish the connection between development and marginalization, and often makes provocative statements suggesting the delusion of progress and democracy.

Venezuelan, b. 1969, Barquisimeto, Venezuela, based in Madrid, Spain and Caracas, Venezuela