Literature

Money is bound up with rain. The weather itself serves as an index of the state of the world. Blessedness is cloudless; it has never heard of weather. There will be a cloudless realm of perfect goods upon which money will never rain.

— Walter Benjamin

Water is the origin and driving force of life on Earth, an abundant elemental resource for the development of the biological and molecular processes that make, among other things, our existence possible. Including thought. If AI thinks, generates content, or learns, it does so by consuming liters upon liters of water. For some time now, natural resources have been increasingly threatened by the advances of industrial life. A wrench and a stone hammer were the symbol of Earth First! in the final decades of the twentieth century, one of many environmental movements that warned of the crises to come. Today, ecological catastrophes are no longer a novelty but a state of affairs: we imagined dystopia for so long that we grew accustomed to it. Within the context of capitalism without limits, the realism of a self-fulfilling prophecy has become manifest. Disillusioned with the possibility of ontological change, we accept and feed a world by default: a world of annihilation and irreparable injustice, of individualism and hedonistic alienation grounded in the market's hyper-semiotization.

Within this context, what was once conceived as an unlimited resource has become a luxury good. Water has progressively grown scarce, becoming a sign of purchasing power and exclusivity. Camilo Ortega’s work reflects on the fate of this natural element and raw material from a social and political perspective that distorts the environmental crisis through fantasies of luxury and distraction. Llave de Paso is an exhibition teeming with water sources that flaunt the pleasure of consumption conceived as privilege. Economic and social inequalities become evident through the stark contrast between drought and shortage, on the one hand, and ostentation and the squandering of resources, on the other. Constructing an imaginary that pushes the possibilities of entertainment to their extremes and places them under tension, Camilo Ortega plays with the seriousness of the problem underlying this phenomenon: he disguises the delirium of human behavior as playfulness.

Against a backdrop of evident scarcity in communities that once had access to water for their basic needs, access to water resources and their irresponsible use reflect social structures devoid of ethics and human concern. These structures, in turn, derive from decadent and savage free-market political models: every material object is tradable, including the minimum guarantees of access that sustain human life and integrity. Thus, water's value becomes a sign of exclusivity. This indifference and lack of commitment opens the way to a fetishistic imagination: water-container buildings transformed into slides, swimming pools and resorts appearing as oases in the middle of the desert. All are paradisiacal spaces conceived by the artist through paintings and sculptural figures in the form of models or pictographic landscapes, which together articulate an idea of water exclusivity, of the deregulation of the sources of human life according to purchasing power and class privilege.

The works in the exhibition allude to both marine fauna—and to all manner of objects and environments intended for bathers: dolphins, crabs, seabirds, and so on—and to certain speculative infrastructures: swimming pools, fountains, slides, and buildings designed to contain water. Suggestive images of how water conduits are distributed also appear in these scenes. This last element is crucial, as it reveals the material circumstances underlying the cheerful reality of the leisure spaces the artist projects. Giant pipes and supply sources cross the desert, implant themselves in the natural landscape, and usurp pools of water. These supply channels articulate a system of exploitation, control, and administration that culminates in those paradises where an abundance of water prevails as a symbol of status. The title of the exhibition refers precisely to the device that enables the distribution of this strategic commodity, a distribution governed by decisions of an exclusively economic nature, in which the arid panorama of the desert becomes extractive and ambivalent, recalling the two sides that inevitably define privilege.

Diego Maureira

October 2026