Nowadays, the growth of transnational corporations, monopolies, unsustainable consumer unsustainable consumer policies and the unjust manipulation of the laws that regulate capital have brought about an unprecedented capital have caused an unprecedented disaster, bringing nature and the very existence of humanity to the brink of collapse nature and the very existence of humanity on the brink of collapse. The economy of desire has sedimented a kind of generalized optimism that refuses to believe that there is a limit to everything has a limit. Market strategies are increasingly woven as a complex web of which we have access only from its impotence of which we have access only from its impenetrable packaging. In the context of territories on the margins, in the global south the dynamics provoked by the extraction of resources, the privatization of the privatization of wealth and processes of de-territorialisation are undermining the lives of, violates the lives of entire communities, imprisoned in the helplessness of disengaged media mechanisms.

The work of the Colombian artist Alejandro Sánchez reflects precisely on the true essence of the international economic model, pierces its curtain and exposes its flaws. For several years, he has been developing the series Some Economies where he explores the means, the motifs, the language with which the market and its commodities are mobilized. In his work, the recurrent use of containers - objects (trans)carrying contents - escapes from their mere physical condition and induces us to question their infallible reality. Sánchez manipulates the solidity of the unyielding cargo volumes, alters their natural condition; sometimes he empties them or violates them by incorporating another volume that opposes them, fragments them and intervenes, playing with the stability of their support points as if they were inverted pyramids within the space.

There is an emptiness that underlies the empire of the economies with which we orchestrate our lives; there is a very high price, which goes beyond the instantaneous cost of goods, and is what cracks societies and their necessary equilibrium. It is the fragility, which cannot be seen behind the wall of insatiable longings, that the artist makes us aware of through the confrontation suggested by his ambiguous objects. In the exercise of his enquiries, Alejandro approaches areas in conflict with scarcity, and there he replaces the corroded roofs of coastal towns, such as those near the country's most important ports, with new ones, extracting these residual elements that will later be recomposed in the image and likeness of the same metallic hexahedrons with which products are distributed by land and river. Like someone following the trail of a ship adrift, Sánchez's work immerses itself in the imperfections of the voyage, discovers its permeable structures, and thus anticipates the idea of a shipwreck.

Yanet Oviedo Matos