The urban intervention puts an emphasis on the two sides of the coin, remembering the lonely, useless spaces which remain behind, like phantom villages. But also, to study the socio-spatial consequences of landscape and arrival (of a new beginning or a return).

The location of these small white pyramid shaped houses on the sloped side of Sancancio hill in Manizales (historically uninhabited and untouchable) reminds us of a village which has been abandoned in the face of violence and lets us imagine a new one: a village built out of necessity rather than through reasoning. The mountain’s difficult topographic conditions aptly created a further paradox. The analysis is, therefore, a back and forth: what disappears and what then appears.

The intervention is temporary (1 day from sunrise to sunrise. The city rises to see the phenomenon and is left to react, perhaps acting, (announcing, recording on photo or video, word of mouth). At night, homes light up, just like lanterns flickering in the distance: at night the people who have been displaced also have a life, need heat and need a home.

The temporarily invaded neighbourhood in the imaginary of the city from far away (the whole city), and from close up (Palmero, upper class borough, and Fatima, lower middle class borough) generates consciousness and brings up concerns. Positioning a possible setting or human drama as reality based on the artistic and special creation as a technical (and conceptual) device.

These monolithic pyramids which sit perpendicular to the slope (not following its vertical angle or gravity) is evidence of risk, just like displacement: About to fall! About to leave.”

The following day, at Sunrise, ‘they’ have Left.

 Art Direction: Santiago Escobar Jaramillo / Aerial Photography: Wilfredo Amaya