Thanks to the prohibition of drugs and the extraordinary profits it places in the hands of drug lords, mafia-like attitudes have taken root in countries like Colombia. While eliminating anyone who obstructs the way has become a familiar and even celebrated occurrence, the money from drug trafficking has infiltrated politics, the judicial system, and the economy. It is so ridiculously abundant that it’s impossible to spend it all. It rots in forgotten barrels in the jungle, accumulates in anonymous electronic wallets, and is used to bring to life eccentricities and absurdities.
The narco-zoo at the Nápoles estate in Puerto Triunfo, Antioquia, is an example of this will to achieve the impossible and its consequences: The four hippopotamuses that arrived on a Hercules plane in 1983 found the perfect environment to reproduce, far from the natural controls of predators and the droughts of the African savanna. As a result, the herd began to grow exponentially—it is estimated that by 2035, there will be over 1,500 hippos if control hunting is not implemented in the country.
These mega invaders pollute rivers, dramatically alter ecosystems, and endanger native species in the region. Another problem has emerged: in recent years, mafiosi from other parts of the world have been buying hippo calves to keep as pets on their estates. The logistical difficulties and enormous costs of capturing, sterilizing, or relocating them leave experts with only one solution: eliminate them now, while they are still in the dozens, rather than later when they number in the hundreds. The necessary but contradictory solution seems to mirror the methods criminals have used for decades when they want to eliminate an inconvenience—“silver or lead.”
In Cocaine Hippos Sweat Blood, Colombian artist Camilo Restrepo presents this fable as one of the many stories illustrating the vicious and exotic cycles that drug violence inflicts on animals and people alike.
Artworks
Fardo
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Flesh
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Mi cuerpo es un campo de batalla
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Evidencia
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Embolsado
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Baby hippos
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Narcohiposubmarino
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Retractor
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Tripa
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Ojo de buey
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Colador
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Super secreto
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Narcohipopótamo
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
El río de las tumbas
Ink, watersoluble wax pastels and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
The hippo incident II
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Boa
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Pira
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Motosierra
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Fábula
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Huacal
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Matenlos a todos. Repito: Mátenlos a todos
Ink, watersoluble wax pastels and acid free tape on paper
11 3/4 * 8 1/4 in.
2024
Panaeolus colombianus
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 23 3/8 in.
2024
Fosa común
Ink, graphite, water-soluble pressed pigment and acid free tape on paper
35 1/8 * 41 3/8 in.
2024
Escena del crimen
Drawing: Ink and acrylic on vellum; Evidence Marker: Industrial paint on steel sheet
10 5/8 * 8 1/4 in.
2024
Space invaders 1
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
66 1/8 * 35 1/8 in.
2024
Space invaders 1418
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
66 1/8 * 35 1/8 in.
2024
Cocaine hippos sweat blood (políptico)
Ink, water-soluble wax pastels, acrylic and acid free tape on paper
16 1/2 * 46 3/4 in. ea.
2024
Fantasía
Ink, water soluble wax pastels, acrilic, graphite, newspaper clippings and acid free tape on paper
46 3/4 * 140 1/2 in.
2024
The hippo incident I
Drawing with water-soluble pressed pigment
16 7/8 * 24 in.
2024
Artist
Camilo Restrepo
Camilo Restrepo experienced firsthand the rise of drug trafficking and the emergence of narcoterrorism, growing up amidst the mafias that affected all spheres of Colombian society and fueled violence and widespread inequality.
His repeated encounters with these contexts led him to question many aspects of his artistic creation, which is composed of multiple layers of meaning and unstable entities that, when intertwined, produce coherent and compact compositions.
His main theme is the ongoing global battle between truth and fiction, which in Colombia manifests at the intersection of violence and popular culture. His work reveals the clear connection between drug trafficking, Colombian elites, and the ways in which these elites have distorted reality. Restrepo satirically critiques the failed war on drugs and seeks to reinterpret and provide a new perspective on that period of Colombian history, which continues to influence the present.
A fundamental aspect of his work is offering a counter-narrative where authorities and civil society have failed. This approach underscores the legitimacy of his unique humor, which emerges from representations that may seem chaotic but are morally and objectively aimed at uncovering the truth.