“Estamos que la rompemos”/ We’re killing it more than a popular catchphrase signaling imminent success, often tied to the promise of big money, whether earned legally or not, serves as a sharp reflection of the crises and desires stirred by contemporary capitalism. This logic of success at any cost, driven by the pursuit of profit, is far from a novelty of our time. It is rooted in long-standing systems of exploitation that have shaped how we relate to nature, well-being, politics, death, celebration, and violence.
The artists featured in this exhibition present works that, with boldness and lucidity, dive into scenarios shaped by these ideas, understood here as consequences of power structures without boundaries. Through metafiction, they construct narratives around promises of success fueled by delusion, greed, and a compulsive drive to consume. This ritual of victory and fame takes shape in laboratories of pink substances branded as criminal objects, in video games staging conquests marked by toxic dreams and excess, in golden reguetoneros dancing among flames, in substance names turned into city brands, in shields for a caricatured nation; in floating chainsaws with golden teeth; in political-subversive objects colliding on stage.
Freedom is an order! Damn it!
Bullet holes on paper echo the gestures of marginalized neighborhoods, where "the bullet" is still mistaken for fireworks. Suspended and almost tragic, the helicopter's tail hangs in the air: a symbol of the apparent triumph of a narco-political-economic system whose imminent collapse never quite arrives. Nearby — at the exits, or perhaps the entrances — a baseball bat with the word tranqui/ chill guards the threshold to a reality consecrated to the illusion of fortune and fame. All these scenes orbit within the "narco-puppy" universe, an aesthetic dimension of crime where violence and luxury are sublimated, adorned, and transformed into symbolic merchandise.
Saturated with dissociation, satire, and ethnofiction, this absurd theater on the brink of collapse invites us to digest a crisis that, while announced as an imminent sentence, also seems to teeter on the edge of conquest. Whatever it takes.
