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Marmelade: The Last Supper
Available for circulation and co-production · info (at) almario (dot) ca
Originals for sale after exhibition · sales (at) almario (dot) ca
Marmelade: The Last Supper is the third version (2026) of Marmelade, a self-destructive installation that invites the public to sit down and taste bread with Colombian jam while a robotic machine systematically destroys mosaic portraits. "Marmelade", and the way it is spread, is a metaphor used by Colombians to speak about corruption within the country's political power.
This version returns to the seven-portrait format of the original: a last supper, seven figures at one table where bread is served. Around the table, two decades of one persecution take their seats.
The persecution has two eras. First the Supreme Court, which in March 2016 convicted the artist's father in a single-instance trial. Then the Special Jurisdiction for Peace (JEP), which in May 2023 charged him with persecution as a crime against humanity, the first accusation of its kind in Colombia. The case does not merely take up accusations first built under magistrates since convicted of corruption: it amplifies them, raising them to the gravest category of crime. The family has always denounced the case as fabricated.
For the artist, the table shows a network that was never fully dismantled: the new proceedings feed on the accusations and convictions built in the corrupt era, and amplify them. The supper is complete: everyone is at the table, and the bread is served.
The seven mosaics of this version were freshly produced in 2026, as the work is being prepared for two presentations in 2026. The installation is modular: it can be deployed in its complete seven-portrait configuration or in a reduced five-portrait one, adapting to the venue. Self-destructive by design, its portraits are produced anew for each presentation, in collaboration with the presenting venue.
