Iván Argote

An "anticipation film" made during performative actions in Paris, Madrid and Rome. Iván Argote deposes monuments, portraying them as symbols of vertical power marked by images of domination. The effigies descend from their pedestals to travel through the city, highlighting the fluidity of historical narratives and sparking surprise and perplexity among passers-by.

Iván Argote conceptually links two cities to which he is personally tied: Bogotá, where he was born and raised, and Paris, where he trained as an artist and now lives.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Iván Argote digs an imaginary tunnel between Indonesia and Colombia – more specifically, between Palembang and Neiva, which have the rare privilege of being one of only six pairs of exactly antipodal cities.

Deep in the English countryside, the government has preserved an apple tree, supposedly the very same from which Isaac Newton’s apple fell from. This image of the falling apple giving the idea of the law of universal gravitation has been reproduced, vulgarized, reused, commercialized, etc., and yet the actual story doesn’t come from Newton himself : thirty years after his death a biographer claimed it as an anecdote Newton once shared with him. And as for this protected apple tree, it is not sure that it is the actual tree mentioned in that anecdote. Fructose takes this as starting point to generate a poetic and surrealist documentary about the images that science produces and their impact on our own understanding of the world. Equally at play are interrogations of the ideology behind what we call “scientific knowledge” and its relationship with the notion of truth.

Deep in the English countryside, the government has preserved an apple tree, supposedly the very same from which Isaac Newton’s apple fell from. This image of the falling apple giving the idea of the law of universal gravitation has been reproduced, vulgarized, reused, commercialized, etc., and yet the actual story doesn’t come from Newton himself : thirty years after his death a biographer claimed it as an anecdote Newton once shared with him. And as for this protected apple tree, it is not sure that it is the actual tree mentioned in that anecdote. Fructose takes this as starting point to generate a poetic and surrealist documentary about the images that science produces and their impact on our own understanding of the world. Equally at play are interrogations of the ideology behind what we call “scientific knowledge” and its relationship with the notion of truth.