Twenty-four photographs of siphons are displayed thirty-six centimeters from the wall. Twenty-four horizontal columns create a world of their own inside, beginning with the siphon’s grate and its outline, passing through the interior of a PVC pipe for sanitary use, and ending frozen at the bottom, where a warm LED light illuminates another photograph. This contrasts with the cold tiles, cement, and cobblestones that invite the viewer to come closer, to finally observe the underworld of shame. Occupying the entire circle at the bottom of the pipe, through the grate, one of the twenty-four photographs of the thousands of trees felled in the past year in Bogotá is exhibited. These records of trees that no longer exist were taken from Google Maps and serve as a sort of tribute to all the trees that have been felled in Bogotá, the country, and the world.

Behind a siphon, which will always be a boundary between life and death, between water and grime, there is a path to the BARD, to the state between death and the next life. There, at the end of the black space, there is barely an illusion, a body that was and is no longer; there remains a memory, a frozen image of a non-existent life. Regardless of the cause of their death or the desire for justice, it remains to appreciate the very few records of some of these absent trees.