Khloris and The Ship of Theseus

Jorge Rosano Gamboa

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Khloris and The Ship of Theseus, the first solo exhibition of the artist Jorge Rosano Gamboa in Kino, brings together a series of works in an effort to recover what was lost. This would be possible by collecting the remains of organic beings and their image captured in the past. The permanence of the object in photography is not only based on their memory, but on the hope of serving as a basis for their reconstruction in an utopian future. 

 

The pieces that are part of the exhibition are born of that photographic moment of freezing, from that attempt to capture the past and from the search for the immortality of the object in that void. 

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The Ship of Theseus is an audiovisual piece by Jorge Rosano Gamboa in collaboration with Noli Zaldívar, which emulates the characteristic introduction of science fiction films. It represents a dystopian future where it is possible, through the union of genetic information and the memory of images from the past, to recover an already extinct world. As a tribute to the SciFi culture and the masterpieces of this genre, the piece is produced and thought in a cinema format. In the "Identity of Metaphysics", The Ship of Theseus is a mental experiment that raises the question of whether an object that has all of its components replaced remains fundamentally being the same object.

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The series of photographs show stills of the piece The Ship of Theseus. Powerful pictorial images of flowers frozen inside ice cubes, in the manner of still lifes. 

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Khloris: Cyanosinthesis. Installation: Blue roses do not exist in nature and have only been created artificially, genetically altering or pigmenting them through the absorption of their stems. This series of roses shown in the exhibition were treated under a cyanotype process by absorbing the chemical through its petals and exposing it to the light. The instant images that accompany the rose installation are proof and models for a possible resuscitation in a coming future  when technology allows it. 

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The last piece of the exhibition is called Faustine (after the female character in Adolfo Bioy Casares novel La Invención de Morel, from 1940). It is a small installation of a rose and its projection. As the real flower decays over time, the projection of the image of the rose always fresh remains static, illuminating an eternal past. 

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