For some years now, Gustavo Zalamea has been organizing collective exhibitions that center on specific themes or concepts and trigger the creation of very diverse works. A soft curatorship is employed to select the participants, which puts into question the rigorous selection and functions more like an open call, where in addition to artists, persons from many other disciplines have also participated. This selection criterion agrees with Zamalea¿s conception of contemporary art as ¿a catalyst, founder and component of a free territory with no visible norms.¿ Thirteen guest artists participated in this new project that was formulated around the concept of ¿transposition,¿ based on the painting entitled Island of the Dead by Arnold Böcklin. The exhibition took place on the main floor of the museum, which permitted placing of the works in four spaces, each with its own character. The image bringing the artists together is a powerful one, and one of the most important paintings in romanticism. Its rendering of lights and shadows, iconography, and title ¿ which was conferred by a gallerist ¿ conveys the finite condition of human beings that was so disturbing for the people of Böcklin¿s time. But today, with all of our accumulated information, when we experience a certain disenchantment with the world and have the right to see the world with some irony, this sublime image becomes an opportunity to make multiple commentaries, such as the guests of this exhibit in fact made. To complement this mysterious romantic atmosphere, one of the exhibition rooms was totally in the dark, and contained three works, all of these placed on the floor and each with its own light. On the right, there is a painting by Gustavo Zalamea illuminated with a table lamp placed behind the canvas to repeat the qualities of light that characterize Böcklin paintings. At the middle of the room, a video installation by Nelson Vergara provided another version of the landscape: a television monitor showed the undulations of a turbulent ocean with black and white images; there is a cypress planted in a pot in front of the television that appeared to be a silent witness, while a conglomeration of cables dispersed around the floor surrounded it like a sort of ¿technological ocean.¿ The weird silence in this work, in which one could see the ocean roar but not the sound that accompanies it, interacted in an interesting manner with Mauricio Bejarano¿s work (with sound) at the other side of the room. There, a small light illuminated a speaker placed on the floor and covered with sea salt except at the center, looked like a sort of black island from which a mysterious voice pronounced the word ¿island;¿ the sound expanded through the solitary-looking exhibition room. This mysterious exhibition room that evoked the romantic spirit with humor and in semidarkness, contrasted with the placidity and luminosity of the main exhibition room. There, two armchairs were placed so that the spectators could sit to observe Gustavo and Julián Zalamea¿s video entitled TRANz REM. This video included images and places that are part of Gustavo Zalamea¿s personal life: his home; family; dog; ¿a fridge that does not know him,¿ as well as the National University, which is used as a location. The art school he attended is also present through objects such as a red plush Venus by Rodolfo Galindo and an incomplete column by Miller Lagos, both art references created within art. Constant elements in this video are a chess match and a turned on television set. The screen shows movie scenes by Alfred Hitchcock and Ingmar Bergman ¿ a scene from The Seventh Seal, in which the main character engages in a chess match with death. The images divided into two, one follows another, and the Island of Death appears frequently, thanks to the montage that follows a non-lineal narrative structure. According to Gustavo Zalamea, the succession of images follows a line of ¿rhizomatic improvisation¿ in which ...