“La Cumbrera, located thirty minutes from the city, is a reserve situated in the rural area of El Verjón Bajo, within the upper basin of the Teusacá River.

There is a rock from which much of the city can be observed. A constant murmur can be heard, a sea of chaos: the city breathes below, and at times a distant alarm rises without barely ever breaking the calm of the listener.

The site opens like a majestic, V-shaped threshold, a natural fold that both connects and delineates the city and the mountain. My father jokingly called it “seventy second and zero. (A colloquial way to indicate an address in Bogotá)”

Today, listening to that name again in all its precision, I like to think of it as a place that precedes and observes. A space in the eastern hills that surround the city, prior to the outlying road, marked by the invisible axis of that seventy second street as it points upward toward the place from which the work draws its inspiration.”

• Santiago Riaño

This October, Santiago Riaño makes his solo debut in Japan with “Seventy Second and Zero”, a collection of photographic works spanning generations and incorporating various transfer methods and natural location-sourced ceramics.