Terra Nullius unfolds as a conceptual and painterly investigation into the flag as a contemporary symbol of identity.

In a world shaped by globalization and symbolic instability, the project questions the ability of collective emblems to sustain fixed meanings or represent shared belonging. Through layered imagery and visual tensions, the works reveal memory not as a static archive but as living matter in constant transformation.

Every surface becomes an accumulation of traces; every image contains residues of what came before.

And Yet It Moves is an exhibition by Aldo Jarillo that explores the idea of thought as a palimpsest: a surface upon which nothing is ever entirely erased. Through layered imagery and visual tensions, the works reveal how every form contains traces of what came before.

Here, memory is understood not as a static archive, but as living matter in continuous transformation. Forgetting appears as an active process that reconfigures what already exists, allowing the past to remain operative within the visible present.

The exhibition proposes a deeper mode of perception: to recognize that every surface is an accumulation, and that each image emerges from multiple layers that converse, contaminate one another, and persist through time.

The Water Is Not Blue emerges as an act of resistance and expiation in the face of the global water crisis.

The works do not represent water directly; instead, they evoke its absence. Sounds suggest invisible currents, surfaces shift chromatically as they contain the intangible, and materials recall the friction of water against stone.

The exhibition oscillates between beauty and warning, insisting on the urgency of environmental collapse while proposing attentive contemplation as a form of resistance.

Iterations is the collective exhibition through which Vertigo Contemporary closes its annual program.

Bringing together five artists whose formal and material investigations construct a broad contemporary landscape, the exhibition unfolds through painting, mixed media, and experimental approaches that expand beyond traditional pictorial language.

Color, gesture, line, and perception become vehicles for reconfiguring the everyday.

Threshold, a solo exhibition by Giovanni Paolo Randazzo, explores light as a metaphor for resistance against authoritarian power. Inspired by Pier Paolo Pasolini’s image of the fireflies, Randazzo constructs a dialogue between painting and installation that places political control and the fragility of living existence in constant tension.

In collaboration with the Chilean artist Mario Opazo, the exhibition unfolds through weathered construction materials, projections, and found objects, creating environments in which painting exceeds the limits of the canvas and every support merges into a single plastic gesture.

Threshold becomes a visual poetics of persistence: a meditation on light—fragile, minimal, yet defiantly insubordinate—standing against the blinding glare of power.

Lizeth León Borja, who began her creative path through writing and later discovered in the image a new expressive territory, presents in this exhibition a series of works that intertwine drawing, painting, archival material, and written language through a profound reflection on inheritance, extinction, and persistence.

The project emerges from a biographical certainty: Lizeth will be the last of her lineage. Far from assuming a tragic dimension, this statement becomes a creative possibility—an affirmation of freedom in the face of the inherited imperative of transcendence.

Chronosynthesis, by Santiago Castro Pulido, investigates the tension between human time and machinic time through works that merge the artifact with the poetic. The exhibition confronts two distinct modes of creation: that of the artist, rooted in the experience of time as mortality, emotion, doubt, and disorientation; and that of the machine, which produces endlessly, without body or interruption, within a condition of non-time.

Castro Pulido reveals how art, far removed from mechanical efficiency, is forged through delay, through the scar of repeated attempts, and through the fragility of gesture itself. Chronosynthesis thus unfolds as a visual essay on embodied temporality.

In Útica, the La Negra stream, transformed into a devastating landslide during the rainy season, destroyed the town’s school. Over time, the abandoned structure became a silent symbol—surrounded by ruins and overgrown vegetation—of neglect and institutional abandonment.

Gabriel Hernández Serrato documented its gradual deterioration over several years. From this process emerged Nobody Here, an exhibition that constructs a haunting and compelling narrative through an immersive installation and a series of photographs portraying interrupted, suspended, and almost inexplicable time.

The acclaimed Catalan artist Pez Barcelona marks the 25th anniversary of his professional career with the exhibition 25 Years Smiling, presenting previously unseen works spanning canvas, resin-sealed paper pieces, and sculpture.

To mark the inauguration of Vértigo Contemporary's new space in Bogotá's San Felipe neighborhood, four artists present their most recent works. Among them: José Rosero, Ricardo Vásquez, Santiago Castro, and Camilo Fidel López.

Inspired by a passage from Fernando Pessoa's The Book of Disquiet, artists Ricardo Vásquez, Santiago Castro, and Camilo Fidel López developed a sequence of kiss gestures rendered across a range of techniques — watercolor, acrylic paint, and colored pencil, among others.

At the prestigious Fundación Gilberto Alzate Avendaño, and in celebration of the tenth anniversary of the iconic mural El beso de los invisibles, Santiago Castro, Ricardo Vásquez, Nicolás Fernández, and Camilo Fidel López conceived a plastic, sonic, and audiovisual exhibition rooted in the work itself, its surrounding contexts, and the narratives that preceded it.