La columna infinita

Kcho. The Infinite Column brought together large-scale sculptures and installations developed around the conceptual axis that the artist explored over a decade: the idea of the infinite column.

Presented at the Palacio de Cristal in Retiro Park, the exhibition featured monumental works constructed through repetition, modest materials, and handcrafted processes, establishing a dialogue with the legacy of Constantin Brancusi while articulating Kcho’s own sculptural language.

For this project, Kcho produced two site-specific works — Como la espuma and Ideas mojadas (a reworking of El camino de la nostalgia, 1994–1999). Installed in relation to the surrounding water, the works formed a symbolic path toward utopia, culminating in a central vertical structure evoking a column of water.

The exhibition emphasized recurring themes in Kcho’s practice: the sea as landscape and metaphor, migration, memory, and the condition of insularity. Boats, ladders, and assembled structures — including works such as Archipiélago de mi pensamiento — operated as metaphors for journey, impossibility of escape, and the persistence of memory.

Working with found materials collected along coastlines and urban environments — wood, rope, clothing, glass — Kcho foregrounds processes of reuse and transformation. The handcrafted dimension of the work reflects a culture of adaptation in which objects acquire new meanings beyond their original function.

Across the exhibition, the notion of transformation — that nothing is permanent — is central. Works such as A los ojos de la historia (1995), referencing Tatlin’s Monument to the Third International, position architecture and sculpture as metaphors for utopia and unresolved futures.