A vortex denominates a concentric flow, a spiraling turbulence, a force and a void, it demarcates boundaries: between a calm, infinite centrer and a raging, dense periphery. The vortex, beyond its mathematical or phenomenological considerations functions as an analogy for a series of ideas related to the outside and inside, to contemplation and abstraction.
Extracted and rescued from an archeological site razed by mining, Vortex by Marco Bizzarri, takes up an ancestral tradition engraved in the stones of the Atacama desert. This concentric circle, hidden amidst the view of extractivism, signifies an opening to a world, an opportunity, perhaps, to rethink the frame of coexistence with our environment, to reconsider the possibilities of our doing.
Bizzarri takes the abstract pre columbine imagery to denounce through a large format piece the destruction not only of the landscape but of the culture as well. He retraces a path to the past to bring a reflection on the importance of the earth through a symbol that it centuries old that synthesizes a different connection with our environment, one of a delicate balance. Brinckerhoff said about soil: “[...] it is where we impart to others our knowledge of the family tradition and where we can briefly withdraw from the perplexities of the outside world, it is where we plant seeds that we hope will one day flourish as a more beautiful landscape and a more harmonious community”
The piece, which circulates between land art and performance uses the ruins left by mining to show us the negligence of the industry, the lack of regulations for land use, and the absolute free will in pursuit of progress: he draws and reconstructs a lost symbology in the same place that led to its destruction.
This way, through this large format piece, located in the remains of what was once a lucrative mining company, now abandoned, Marco evidences the impact of progress in its most destructive version, the devastating facet of an unsheathed idea of prosperity without limits, which in its latin american expression destroys everything in its path: water, local economies, ancestral cultures and people. This immemorial graphism, silenced under the sun, emerges as a warning in the desolation of the Atacama desert.
