Series: Doctrine/Education/Thought/Rooms

For more than a century, the consolidation of Western values and lifestyles has, almost like a dogma, led to a commitment to practices that contribute to consolidating the idea of internationality. A fundamental practice in this sense is domestic photography.

For decades, the family album was a memory device that embodied a social symbol. In these albums, which were intended to record affection, the status quo of those who produced them was undoubtedly also expressed.

In this sense, from an anthropological and archival perspective, these images display other contents that are often more interesting than even the events of the affective world they were intended to record.

Photography as a doctrine became an everyday practice called upon not only to produce a record of images but also to unfold a whole way of life—a whole promise of modernity.

The series Doctrine is an investigation that covers this problem from various perspectives, among which the series Rooms is the one I have chosen to develop.

In Rooms, the focus is on painting. It is perhaps within the series of the project that the element of fiction appears more attenuated, in the sense that even after the intervention, there are still possible images.

It is about the instrumentation given by the middle and upper middle classes to painting as the place that art meant for a society exposed to the effervescence of modernity. In most of these homes, which were open to the reception of technological advances and the latest comforts, the choice of art in the home was almost always an anachronism.

In these images, those anachronisms have been replaced by historical versions of paintings of modern aesthetics that, by taking the place of folkloric and folkloric scenes, produce a retrospective update. A game with the past that is only made possible by the intervention of original images from that period when the practice of family photography was a doctrine.



In a conversation with Helwing Villamizar, it was discussed that they are starting a section on the webpage called “Future Shows,” wherein we will add variations of the “Doctrine” shows. The future shows will include Helwing’s ideas and concepts of the staging of “Doctrine” and the identity within that doctrine, as well as multiculturalism and its role in the spread of any doctrine.

These shows will be future iterations of Helwing’s staging ideas (see PDF below), which could be in different locations such as a gallery, public space, or domesticated space, depending on the staging of the doctrine, be it art, religion, or politics. It was emphasized that the focus of these works is on how these ideologies are put forth in the real world through the implementation of doctrine.

Satellite parts, iteration 1:


Satellite parts, iteration 2:


Satellite parts, iteration 3:


See Dailies.

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