The Berlinische Galerie in Berlin, Germany is presenting Iván Argote from June 19 - September 9, 2024, focusing on two films by the Colombian artist and filmmaker. These are Levitate (2022) and La Plaza del Chafleo (2018). The former evokes the violent histories of colonial monuments in Europe and records actions carried out by Argote in Rome, Madrid and Paris to dismantle them. Meanwhile, the latter takes its name from the verb ‘chaflear’ (to ‘chaffle’), coined by Argote, which could mean to kiss, protest, imagine new words and their meanings and a whole host of other activities. Argote joins STIR for a conversation that sheds light on the intent behind his remarkable work.

Argote’s art investigates our relationship with power structures, belief systems and even language itself. While the artist possesses a bold decolonial voice, there is an unmistakable sense of tenderness and humour to his work. Spectacle, too, is a big part of Argote’s process, though his art never feels whimsical. Instead, each act seems to be meticulously thought out, to resonate loudly in a political dimension.

It would be healthy and healing to allow ourselves to create critical monuments, not just victorious celebrations of power. – Iván Argote

At one point in Levitate, the artist installs a replica of the Flaminio Obelisk in the Piazza del Popolo—one of the largest city squares in Rome—where the original also sits. Through the strange sight of Argote’s crew erecting and dismantling the obelisk, bystanders are provoked to reconsider the original obelisk’s transfer from Egypt to Rome at the behest of Octavian (27 BC - 14 AD), Rome’s first emperor. Suddenly, the monuments around them all transcend their accepted historical roles and we are reminded that they are politically motivated constructs that symbolise power, conquest and colonial dominance.

Argote discusses his perspective on monuments of conquest, saying, “With my works, I try to create awareness about the many humiliating symbols of domination that supposedly speak of history but, in reality, only evoke a particular vision of it.” He believes that there is much room to rethink the ways we experience our public spaces, both in physical and symbolic terms. “Additionally,” he remarks, “It would be healthy and healing to allow ourselves to create critical monuments, not just victorious celebrations of power.”

Coming to La Plaza del Chafleo, the film presents the city square where the actions of citizens will ultimately decide what it means to ‘chaffle’. By the end of the film, it seems that 'chaffling' is a political activity that entails radical love, radical rest, organised action and perhaps all (or none) of the above, but always seems to gesture towards a decolonial, community-first endeavour of some kind.

After viewing Argote’s works, one may wonder where he places responsibility for overturning violent histories and developing communal harmony. His views are clear and decisive, as he tells STIR, “The responsibility lies with us, the citizens. No change in this direction will come from those in power on their own. We need to push the issues, generate proposals and constantly imagine new strategies to broaden the conversation, create visibility and ultimately influence policies." And for his part, he adds, "I personally believe that we, as artists (all artists—musicians, poets, writers, visual artists, filmmakers), should act as cultural agitators, stimulating debate.”

The Berlinische Galerie’s presentation challenges us to think critically about the public spaces we occupy and how we interface with each other in those spaces. Argote’s work is particularly affecting the lightheartedness it can carry while pushing one to reconsider their most basic beliefs.

‘Iván Argote’ is running from June 19 - September 9, 2024, at The Berlinische Galerie, Berlin.