In the exhibition, two series of works highlight these visual elements. Through this gesture, the ballots become vestiges of a declining democracy, where parties gradually lost ideological substance and public trust. In Partidos políticos
que han desaparecido en la Democracia, Apóstol removes all text, leaving only the colored grounds of the ballots, like empty imprints of a vanished political past. In Color is My Business, he extends the reflection through monochrome panels that condense the ideological evolution of these parties until their eventual disappearance. The visual brilliance of these works is as captivating as it is questioning: behind the pared-down abstraction, political markers dissolve, revealing the ambiguities of an electoral language that is aesthetically attractive but emptied of meaning.
At the heart of Nicolás Paris’s practice is an exploration of pedagogical structures and learning dynamics. A former teacher in rural Colombia, he has developed a practice based on transmission, exchange, and experimentation. His series Naturaleza Doméstica (butacas) functions as a pedagogical tool, both playful and mobile. Geometry is freed from its institutional framework to become fluid, organic, and almost alive. The furniture he designs, deliberately unstable and modular, evokes an everyday geometry that is not fixed but responsive to gestures, uses, and moving bodies. In Somos fermento, Paris stages a geometric game where the unpredictable vitality of the living meets human precision. Fabrics once used to proof bread, marked with traces of fermented dough and flour, retain the memory of an organic process governed by time and chance. Stretched and redeployed on the whiteness of paper, they receive a clear line and precise framing, like a second writing. Between spontaneous fermentation and geometric incision, the work becomes a formal dialogue between nature and culture. Thus, Geometrical Lessons does not teach geometry; it reveals its possibilities.