Maripaz Jaramillo – “Abrazos” – Baobab gallery

Maripaz Jaramillo PreciosOne of Colombia´s most well known female artists is Maripaz Jaramillo and she presents her next exhibition, “Abrazos” (“Hugs”) at Baobab Gallery in Bogota.

It starts on the 23 March 2017 with a vernissage event at 7pm and runs through to 21 April 2017.

Maripaz Jaramillo: Life of Art

Originally from Manizales, she studied Fine Arts at the University of Los Andes and did further studies at Chelsea School of Art in England, Heyter Workshops in Paris and Camnizer in Italy.

She is part of the generation of artists that emerged in Colombia in the seventies. His work aligns itself with the tendency of pop art and has addressed expressions of Colombian social culture by applying critical and humorous assessment of its reality.


The artistic production of Maripaz Jaramillo is characterized by the use of strong colours and a lack of fineness in the strokes. It distances itself from the formal elegance and expected academic requirements and its rough and colourful drawing has often been described as “deficient” by reviewers. Nevertheless the artist has not tried to amend her technique or identifiable style, since she does not seek with its work to replicate the reality but to interpret via exaggeration and visual abbreviation. Some commentators categorize her work as expressionism with critical overtones but the artist herself says that they interpret in her work a political background that she does not really seek to create.


During her artistic career, MariPaz has participated in about 88 collective exhibitions in Latin America, Europe and the United States, and in more than 50 solo exhibitions in Colombia, Germany, the United States and the Middle East.

Some of her works are part of the public collections of museums such as The Modern Art of Bogota and Museum of Modern Art of New York among others.

CV ( in Spanish)


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Gente Magna (Great People)

A portrait is a figure representing a person. Portrait can also mean the description of its figure or character, that is, of the physical or moral qualities of a person. It refers to the plastic expression of a person or imitation of it. The exhibition titled “Gente Magna” (Great People) is composed of three artists, the theme of which is portraiture. They are Yolanda Mesa, Nicholas Sperakis and Santiago Samper. These are portraits where the face and its expression predominate, that pretend to show the similarity, personality and even the mood of the person. For this reason, a portrait is not a mere reflection, but a composite image of the traits that identify it.

Portraits fulfill different functions. In portraits of leaders, in politics they are often used as a symbol of the state and are symptoms of a cult of personality. There is also the will to perpetuate the memory of a person and to create a permanent historical image.

Portraits of Worship
Yolanda Mesa (Medellín, 1953)

Mesa presents 57 works, in small and medium format. The sequence titled by the artist Portraits of Worship are realized by way of oil drawings on canvas. This is her latest creation, the result of a year of work and research. Says the artist who investigated  and researched why humans create myths about portraits and the tendency to create icons, which become identifiable, admired, worshiped and even idolized by the crowds. Some of these characters have stood out for their histrionic ability, like movie stars such as Brad Pitt, Michael Jackson, Elizabeth Taylor. Others for their charismatic power and power of mass influence, such as Mao, Putin and even Trump himself and so many other characters that are stuck in the collective memory. “In doing this research, I was very careful that each of these characters were admired and worshiped by the public, sometimes more locally, as is the case of Shakira, Carlos Vives, Messi and other times were more universal characters such as the case of Marilyn Monroe, Che, Mao and many others. But at last they are all characters of adoration”, affirms the artist. As for his particular work Portraits of Worship, the format of the works is elongated, and the portraits are worked at the bottom of the format, as a way of indicating that these portraits are embedded in our mind, in memory.

Symbolic urban portraits
Nicholas Sperakis (New York, 1944)

The work includes 21 portraits, entitled Urban Portraits, made in ink on paper, in small format and four in medium format. This series consists of several imaginary portraits based on memory and observation. They are frontal portraits and profile, intimate; some reflect meditations and many of these correspond to the times of convalescence. They impose dramatic figures in strokes of a very personal expressionist language. The quality of Sperakis’ drawing includes black lines that mark the space of a work and of thick and thin lines that give a lot of force to his drawings.





Imaginary Portraits
Santiago Samper (Milan, Italy, 1954)

Samper exhibits 30 recent works in mixed media, in which he uses watercolors and inks, some of them homemade.
It is a singular work in terms of what it means in the plastic investigation of the artist. Portraits inspired by his travels around the world and his studies and periods of stay in Germany and the United States. His creativity is a stimulus to his own creative adventure. The world of dreams, of the events that inspire and recreate them, does not limit the creative possibilities of the artist.

María Cristina Pignalosa
Bogotá, February 20, 2017.

From: Thursday 23 February 2017

Curated by: María Cristina Pignalosa
Address : Calle 80 # 12 – 55
Phone : 3153610130 – 2177698


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Bogota Auctions: Colombian and Latin American Modern & Contemporary Art

Bogota Auctions is the principal if not only auction house in Bogota, Colombia dealing in contemporary, modern and antique artworks. On Tuesday 5th March 2017 they will hold their latest art auction with over 70 lots. Their latest catalogue of colombian and latin american artworks includes well known modern artists such as Edgar Negret, Omar Rayo, Antonio Roda and Manuel Hernández; contemporary work from Gaston Betelli, Luis Luna and Carlos Blanco. Other Colombian works include artists such as Ricardo Gómez Campuzano, Roberto Paramo and Jesus María Zamora. Latin american artworks by Francisco Toledo, Antonio Seguí, and Wilfredo Lam are also available.

To participate in the auction you need to register by contacting It is also possible to personally register the day of the auction, during the two hours prior to the start of the sale, at the Bogota Auction headquarters.

The auction begins at 8pm and works can be viewed during the day at:

Carrera 7A #69-26 (2nd floor), Bogota.


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“The Fable of the Blind Artist” – Dario Ortíz

The Museum of Modern Art of the State of Mexico celebrates its 30 years of existence with the exhibition “Darío Ortiz: The Fable of the Blind Artist”, a selection of works by the Colombian artist based in Mexico.

The exhibition, made up of works belonging to Mexican collections made mostly in the last decade, intertwine forms of the Renaissance and Baroque with a contemporary look that questions historical dogmas, investigates in the collective memory and manages to visualize, through art, the tones of modern civilization.

Darío Ortiz (Ibagué, 1968), works on a figurative narrative that explores the human condition; To materialize the argument the painter makes use of a refined technique that flirts with the surrealism and theatricality of the classic antiquity, uniting the legendary practices of man with those of the present time, revealing a criticism of the paradoxical situation of contemporary man and his accelerated existence. The crossing of garments, actions and customs between centuries makes certainties uncertain and calls for a deep reflection on the strict laws of the earthly.

The public will be able to enjoy this exhibition from March 4 at 12:00 in the Museum of Modern Art, located in the Centro Cultural Mexiquense, until April 17, and understand the question that the author himself poses: Does slow and meditative painting make sense in this dizzying and fleeting world where the ephemeral has primacy?

Centro Cultural Mexiquense is a cultural center located on the western edge of the city of Toluca in central Mexico.
 Address: Jesús Reyes Heroles 302, Delegación San Buenaventura, 50110 Toluca de Lerdo, Méx., Mexico

Hours:  10AM–6PM
Phone: +52 722 274 1222


Original article in Spanish


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Art Week Miami – December 2016

A number of art event at Art Week Miami present artworks of several well-known Colombian artists, some of which are noted below. For most fairs their last day of opening is tomorrow 4th December 2016.

Art Miami

Durban Segnini present artwork by artists Carlos Rojas and Ramirez Villamizar and the Mexican gallery Pablo Goebel has excellent works by Ana Mercedes Hoyos and the Adler and Konkright gallery present works by Nadin Ospina. Meanwhile the Jerome Zodo gallery presents several paintings and drawing by Fernando Botero. Also showing sculptures by Botero is Rosenbaum Contemporary Art Gallery.


Casa Cuadrada showing two artists from Spain: Ismael Lagares and Rafa Macarron

LGM Gallery is showing the works of several artists including Sair Garcia.

Adelson Gallery has a very strong focus on Federico Uribe whose art has had a recent strong interest from a number of museums and which can be seen next year at the California Centre for the Art in Escondido (March – June) and at Woodson Art Museum in Wisconsin (June – August).


Untitled is a curated art fair for international galleries and nonprofit art spaces has been held in Miami Beach every December since 2012. In a short period of time, the fair has more than doubled the number of participating galleries and nonprofit art organizations. Omar Lopez-Chahoud is its independent curator and artistic director and he has included the following galleries from Colombia:

9-80 Nueveochenta Gallery presents the following artists:

Juan Fernando Herrán, Fernando Uhia, Juan Carlos Delgado

Instituto de Visión presents a solo booth with Otto Berchem, and WALDEN from Buenos Aires.



Proyecto Zeta presents works by street artists Pez, Crisp and DJ Lu.

Indianabond Project from Bogota presents work by Eduard Moreno

Eduard Moreno - Scope 2016

Oil and carbon paper files washed with turpentine on board





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Bernardo Ortiz at Art Basel Miami

Bernardo Ortiz at Art Basel Miami

Bernardo Ortiz at Art Basel Miami

As part of the Salon talks at Art Basel Miami the Colombian artist gave a presentation on “Low Resolution Stories” whereby information can be transformed and a new story created by the interpretation of images based on low resolution… almost like a game of visual chinese whispers…!  One example he gave was of the story where a “reptilian” formed part of Barack Obama’s secret service bodyguard retinue … obviously later debunked.


Ortiz also forms part of the artists selected for this show at Art Basel Miami by the Casas Riegner gallery.

Bernardo Ortiz art at Art Basel Miami

Bernardo Ortiz art at Art Basel Miami

He has worked as a professor of the University of Los Andes in Bogotá, the Universidad del Valle and the Departmental Institute of Fine Arts in Cali. His work is present in outstanding collections inclusding those of Tate Modern Collection, London, UK; Museum of Modern Art (MoMA), New York, USA; CNAP Center National des Arts Plastiques, France; Deutsche Bank, Frankfurt, Germany; Patricia Phelps of Cisneros Collection, New York, USA; Modern art museum Tertulia, Cali, Colombia; Kadist Art Foundation, Paris, France.


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Art Basel Miami 2016

This year’s Art Basel Miami 2016 is an art fair that features 269 prominent galleries from North America, Europe, Latin America, Asia and Africa, exhibiting works of more than 2,000 artists from the 20th and 21st centuries. It’s reapplication rate of 98% shows the importance of this art fair to the galleries that participate which may be because it attracts more than 70,000 visitors each year.

Art Basel 2016 Miami is open to the public from 01 to 04 December 2016 at the facilities of the Miami Beach Convention Center. The Colombian based galleries participating are: Casas Reigner,  Mor Charpentier and Instituto de Visión – all basedin Bogota.

Bernardo Ortiz - MOMA Collection

Bernardo Ortiz – MOMA Collection

Art Basel Sectors

Art Basel presents art through multiple sectors, each defined by its own independent selection process and committee of experts. These are presented below with the relevant Colombian connections

Galleries: More than 200 of the world’s leading Modern and contemporary art galleries displaying paintings, drawings, sculptures, installations, prints, photography, film, video, and digital art by over 4,000 artists.

         Casas Riegner: – Bernardo Ortíz

Nova: Designed for galleries to present one, two or three artists showing new works that have been created within the last three years, the Nova sector often features never-before-seen pieces fresh from the artist’s studio and strong juxtapositions.

         Instituto de Visión

         Mor Charpentier:  – Oscar Muñoz

Positions: Curators, critics, and collectors can discover new talents from all over the world when a single artist present one major project here.

Edition: Leading publishers of editioned works, prints, and multiples present their collaborations with renowned artists.

Kabinett: Curated exhibitions of certain galleries are presented in a separately delineated space within their booths.

Public: This sector includes outdoor sculptures, interventions, and performances, sited within an open and public exhibition space at Collins Park (2100 Collins AVE) near the beach.

Film: A presentation of films by and about artists. Screenings take place inside the Convention Center and in the outdoors at SoundScape Park.

Survey: Historical art projects are presented in this sector.

Magazines: Worldwide art publications display their magazines in single-magazine stands or the collective booth.

Oscar Muñoz - MOMA Collection

Oscar Muñoz – MOMA Collection



Vernissage ( invitation only)

Thursday, December 1, 2016, 11am to 3pm

Public days

Thursday, December 1, 2016, 3pm to 8pm

Friday, December 2, 2016, 12 noon to 8pm

Saturday, December 3, 2016, 12 noon to 8pm

Sunday, December 4, 2016, 12 noon to 6pm


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MAMBO: “Mutinous- Mother Earth”



“The symptoms of the present society allow us to understand that we are in a moment of global crisis, we live in a sick society. Modernity left us with legacy rooted verbs like: conquer, progress, change, build, replace, transgress, destroy, exterminate, lie, consume, lack, need among many other actions that are rooted in the collective unconscious and relate to an economy Which is still in force. The environmental forecasts and that overflowing capitalism that was compared by the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari with one of the strongest mental illnesses as schizophrenia, which is characterized by personality alterations, hallucinations and loss of contact with reality. A world where our deepest desires are transformed into artificial desires that make consumption from a sugary black drink to experiences and new advertising strategies.

Edgardo one of the characters of King Lear expresses The prince of darkness is a noble knight, this phrase is as valid as other William Shakespeare, because the contemporary world is dominated by corporations that appear before the “poor” but rich countries. In natural resources such as the “noble gentlemen” whose speeches are full of possibilities of diverse orders like the offer of work to many people who need it and under the arm they bring contracts where the profits are for them, the mistreatment to the nature is devastating And they pay fines for various reasons that they contemplate in their budgets. We just need to take a look at the mining or oil companies that use fracking contaminated land and water. Some of these companies disseminate transgenic seeds in order to end the hunger of the countries most in need. Glyphosate is used to eradicate illicit crops which damages the soil, and produce diseases that do not yet have statistics, these chemicals are produced by Monsanto, the same company that uses hormones and antibiotics in cows to produce more milk faster and Less expensive in the United States, and the same one that created Agent Orange to spray the forests and the inhabitants in Vietnam and is one of the companies that patents and monopolizes genes, processes of genetic modification, seeds and even complete plants that belong to the whole humanity.

There are also speeches to build plants and create nuclear weapons in cities, proclaim energy for all, argue the security and stability of the country in the face of a global conflict. Akira Kurosawa in the unforgettable Dream movie presents an image of Mount Fuji where the sky is stained red from the outbreak of a nuclear power plant, this film warns us of nuclear bomb tests and reminds us of Hiroshima and Nagazaki. It also confronts us with present history: France did a test at Mururoa atoll in Polynesia (Lost Paradise), North Korea has just completed another test in September this year. And we can not forget the reactor that exploded in Chernobyl and the escape of the nuclear power plant of Fukushima, nor the deaths, the radiation, the tremors, the movement of the plates and the epidemics of cancer that produced.

This reinforces the idea that the earth became a paradise that was lost by the hand of the human being, the individual today enjoys the mirrors, because these mirrors only him and make him forget everything else, already Many philosophers tell us that the twentieth and twenty-first centuries are the most individualistic in history.

In Genesis one of mankind’s metaphors: “Let us make man in our image and likeness: to command in the fish of the sea and in the birds of the sky, in the beasts and in all the terrestrial vermin and in All the reptiles that creep on the earth. “And the human being took these words seriously and dominated the land, the animals and reached brutal and systematic extremes such as the exterminations of Native Americans, Indians, Jews, Syrians, among others So many who die day by day

It is paradoxical that only after XXI centuries Pope Francis spoke about the environmental problems: “The land seems to become more and more an immense deposit of filth”, it is only necessary to take a look at the “plastic soup” that forms Today a kingdom in the Pacific Ocean and that poisons a million birds, marine mammals and turtles after eating plastic or tangled in it. The statistics provide us with figures such as: between 12,000 and 24,000 tons of garbage eaten each year by fish in the Pacific.

But what does this data mean? Is it simply an alarming number, or one of the visible warnings that the planet is asking for help not to die? Or it tells us that it will regenerate and the question then would be: what will happen to the human being ?

Mother earth mutinous born of observing human actions against the earth, but also a project that wants to connect all forms of creation in favor of nature. The 21st century has a challenge to find a balance, every year Earth Day is celebrated on April 26, agreements are made, but these are only fulfilled with the commitment not only of governments, mutinational and ourselves. The Global Network of the Ecological Footprint published this August 8 that we use all the resources of what the earth can regenerate. More and more alarming, we are at a point where we can not be indifferent to the disasters left by the dynamics of modern society.

Since the end of the 80’s, some artists have linked their artistic practice with the environment they have done in the form of resistance, where practice is linked with activism, where art is linked to life and its processes are a response of one Way of thinking, denouncing and acting. Art is what is not accommodated, it is what dissolves the mimesis of the narcissistic society, interferes and subverts it, manifests its nonconformity. Contemporary practices are processes that are measured by the experience that is built with the community, the problems that the world is experiencing, the void provided by the institution, or life itself. Current art is discursive, and the work is the same text, which does not have a single meaning but is polyvalent, is not defined from established paradigms, is an art that is transformed from its very existence.

For its part, the spectator approaches and participates in these practices, engages in dialogues from the closest to the artist (s), experiences the works in their singularity and is situated as close to and from this perception, creates their own discourses and experiences. Thus, not only artists, but biologists, peasants, students, ecologists, psychologists, designers, communicators and many people connect with the earth and the environment in a multidisciplinary way in their proposals.

Only through the actions led with an altruistic spirit, activist practices that supposes a political position in the noble sense of the word, it is possible to approach micro utopias that go against all kinds of violence and corporate manicheans.

The sample infers on what is happening in the moors, rivers, endangered animals, non-biodegradable waste, chemicals in food, seed patents, climate change, indiscriminate logging of forests , Destruction, pollution of water by mercury and arsenic used in mining and plastic that cancer for the planet.

Mother Earth, officially nominated by the UN and the interdependence we have with it, went wrong.

Our Pachamama riots and us with her!”

María Elvira Ardila
Curator of the Museum of Modern Art of Bogotá

Original article in Spanish: Mambo


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Colombia in Scotland

Three well known Colombian artists are participating in the Edinburgh Art fair in Scotland.

Eivar Moya, Graciela Gómez and Manuel Serrano presented their latest works with the Gaudi Galery from Madrid, Spain at Scotland’s biggest art fair which often receives over 10,000 visitors each year and often sells more than 1000 pieces of art in just a few days.

All three artists have extensive experience of showing their works internationally and for Gómez and Moya this is their second time to include artworks at an event in Scotland having participated in in 2011.

Eivar Moya

Graciela Gómez

Manuel Serrano




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ArtBo 2016


It’s art month in Bogotá, and for three days, from October 27 to 30, the capital hosts the 12th edition of the International Art Fair of Bogotá (ARTBO), one of the most important contemporary art fairs in Latin America.

The City Paper

This year 74 galleries from 28 different cities from across the world have been invited to present their works, with 500 artists in attendance, as well as buyers, curators, and publishers. After more than a decade of opening up the Colombian capital to art, this year’s fair brings back respected galleries as well as newcomers Peter Kilchmann (Switzerland), Galerie Jérome Poggi (France), Rafael Pérez Hernando (Spain), and Johannes Vogt Gallery (United States). In addition, Latin American galleries El Apartamento (Cuba), Walden Gallery (Argentina), and AFA Gallery (Chile) will showcase their artists for the first time at ARTBO.

The ‘Projects’ segment of the fair will be curated by writer and exhibition-maker Jens Hofmann, deputy director of New York’s Jewish Museum and artistic director of the Cleveland-based FRONT International.The focus of “Projects” for this 12th edition is to explore the role of the figurative in the works of two leading women of Colombian art – Débora Arango and Beatriz González.

Mexican Pablo León de la Barra, curator of Guggenheim Latin America, has been commissioned for the ‘Referentes’ section where artists exhibit on a specific theme. And the up-and-coming talent salon “Artecámara,” in the hands of Colombian curators Maria Belen Saénz and Fernando Escobar, will present the works of 24 promising young Colombian artists, including award winners José Alejandro Restrepo and Sandra Rengifo.

This year’s fair also includes a new space titled “Talks with collectors” led by Abaseh Mirvali, an Iranian-American curator of contemporary art.

“With this edition we reach 12 years of supporting our artists and gallery owners, offering support for improving their competitiveness and supporting the circulation of the arts,” said Monica de Greiff, president of the Bogotá Chamber of Commerce.

Last year’s fair attracted more than 35,000 visitors and consolidated ARTBO as the most important showcase for the art market in the country. The fair covers 13,000 square meters of the Corferias exhibition grounds and with each edition welcomes more visitors, proving that Bogotá is a vital arts capital in the Americas. The fair launched back in 2005 with 29 galleries from seven countries.

Among the high-profile Bogotá galleries at ARTBO 2016 are El Museo, La Cometa, Nueveochenta, Doce Cero Cero, and Beatriz Esguerra Arte. Two Manhattan galleries that specialize in Latin American art, Leon Tovar Gallery and Y Gallery, return this year, as well as the Los Angeles-based Steve Turner and Mama.

With a recently launched new website and hashtag #ARTBO2016 to follow the art happenings on your mobile, the fair expects to receive 45,000 visitors, marking a new record in attendance for a fair that continues to position itself as an essential meeting place for artists, collectors and curators, but also a window on the Colombian capital.

Corferias  – Ave La Esperanza with Cra 39

Doors open noon until 8:00 pm.

Tickets: $32,000 (adults), $15,000 (students). Children under age 10 free admission.

Written by Richard Emblin, The City Paper


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Call for artists – ArtCALi 2016

Art in Colombia- call for artists

ArtCali – full color!

ArtCALi is a space for art in all its expressions, the meeting place of creators, of spectators, neophytes and experts , buyers, galleries and collectors, public institutions and private. It is a space for surprise, to discover a reinterpretation of what we are, according to our contemporary reality.

Since 2015 ArtCALi has created a space called Espacio 1492 as a stage to rediscover ourselves and meet our reinterpretations of reality. Espacio 1492 is the space for emerging artistic languages ​​in the current circulation of contemporary aesthetic, a meeting place with new proposals.
2016 ArtCALi calls all plastic and visual artists to participate in Space 1492, to exhibit their artistic proposal and generate a visibility that allows a dialogue between the audience and the artist and their work.
A jury of arts professionals, will make a selection of artistic proposals that have a deep conceptual content and meet the expectations of the event.
The selected artists will exhibit their works during the four days of the fair from 1 to 4 December 2016, which will make their proposal visible creating opportunity to generate cultural and commercial contacts and strengthen the projection of their artistic work.

Works that may participate will follow artistic techniques such as painting, drawing, photography, sculpture, installation, and video. Foreign residents in the country as well as Colombian artists can participate in two categories: up to 35 years (six artists will be selected) and those over 35 years (3 artists will be selected).
The applications of plastic and visual artists should be sent by to email: until July 8, 2016, annexing the requested documentation:

Entry Form to Espacio 1492 in 2016 ArtCALi.
Registration fee amounting to fifty thousand pesos m / c ($ 50,000 = USD $17)
Artistic resume.
Statement or artist statement (maximum one page, Arial 12, single spaced).
Images of three works (no more than 6 images in total, including details), duly marked with the name of the artist, in JPG format with at least 300 dpi mail: (For example: Juan Pérez title work.jpg ).
Fact sheets works with author data, dimensions, painting technique, year of accomplishment and value of the works in Colombian pesos.
Each artist can submit up to three two-dimensional works with a maximum size 150 cm x 100 cm or even three three-dimensional works maximum size 200 cm x 100 cm x 100 cm or up to three facilities up to a maximum size of 200 cm x 200 cm x 200 cm. An artist can submit up to three works in different techniques and media. In no case can an artist can participate with more than 3 works.
The works, proposals or projects must not have been exhibited in the last calendar year in the city of Cali and should not have been made before 2014.
An assembly diagram must be attached for installations .
Artists must certify in writing the authorship of the participants and exhibits. Under no circumstances will ArtCALi 2016 accept works without authorship certificates or having authorship or copyright claims or lawsuits against them. ArtCALi 2016 is not responsible for the authorship of the works of the artists or the rights that correspond to these. These rights correspond directly to each author.
The artist, gallery and / or legal representative, authorize the total or partial publication of works in digital media, newspapers, magazines and other publications related to the ArtCALi 2016 event.

For the selection of artists and their works, the Selection Board, composed of three arts professionals, will take into account:
Compliance with the provisions of the current call for Espacio 1492 and the general provisions of ArtCALi 2016.
Coherence between the conceptual content of the work and formal proposals.
Academic and career of the participant.
The relevance of the works with the principles and tenets of ArtCALi 2016, framed in this call.
Participation in this call for Espacio 1492 implies acceptance of the terms and conditions thereof and the general provisions of ArtCALi 2016.
No works that exceed the dimensions specified in this call or significantly alter the conditions of the exhibition space or interfere with other works or that endanger the physical and mental health of the participants or the general public will be accepted.
In all cases, the exhibitor will provide all supplies, materials and technological devices that require their works for proper presentation for the duration of the event.

The list of artists selected will be published on the event website, Facebook page and via the supplied email on July 22, 2016.

More information:

Colombian artists in the spotlight abroad

Colombian artists are slowly making their way into more international gallery and museum spaces. The following re-published article focuses on some of Colombia´s art talents who have forged the way. There are many reason for Colombian artists to make headway abroad – better recognition at home and internationally could be one, but also it could be said that the market internally for art in Colombia is just too small to provide them with the financial opportunities to help many of them develop their business. Less than 5% of students who originally start out studying art at universities in Colombia end up being able to become professional artists. Such are the difficulties that most artists face when having to provide for a family and develop a business at the same time.

Art from Colombia


Colombian artists in the spotlight abroad by Niamh Hallet for The City Paper

Bogotá’s art scene came intensely alive last month  as artists, collectors, advisors, curators and spectators converged for a one-week feast of exhibitions, the centre of which was ArtBO.

With 84 galleries from 20 countries represented, the art world was abuzz, and many quality works got well-deserved international recognition.

It appears the gaze of many prestigious art galleries, curators and collectors is now fixed on Colombia.

“The Colombian art scene is in no way emerging. It’s just that recently it has begun to establish a name for itself.”

But as well-known art scene figures scout for new Colombian talent, many artists still find international representation few and far between. And even though their projects speak for themselves, language is a formidable barrier for many artists.

Still, some local artists such as Oscar Murillo and Rafael Gómez Barros have been able to get a foot in the door. Their work was on display at the reputable Saatchi gallery in London as part of the Pangaea exhibition last year.

Both men have established themselves relatively recently as sought after artists, and sell work at prices well into the triple figures.

For decades, Fernando Botero was the only Colombian artist who succeeded in establishing himself prominently on the international scene. His bronze figures could be found everywhere from Barcelona to Manhattan.

But the Financial Times describes this prolonged period of international artistic anonymity as Colombia’s “50 years of solitude.”

Then came sculptor Doris Salcedo with a number of overseas exhibitions in the 90s and an acclaimed installation of “Shibboleth” in the Tate Modern in 2007.

Now, Oscar Murillo and Rafael Gómez Barros are just two of a significant number of rising star artists gaining ground abroad.

These recent successes have helped provide further impetus for Colombia’s increased international visibility. But as María Paz Gaviria, the director of ArtBO stated, “The Colombian art scene is in no way emerging. It’s just that recently it has begun to establish a name for itself.”

Philipa Adams, director of Saatchi gallery, notes that the recent interest in Colombia is not due to a suddenly thriving art scene, but the fact that it’s only now that international visitors are beginning to take a closer look.

The changing political climate in recent years, she explains, has “opened up different dynamics and allowed more freedom.”

This freedom is pushing Colombia forward as a fashionable emerging art market, and key art industry figures are making the trip to find out what’s waiting to be uncovered.

Most of this exploration is confined to occasional visits and participation in the various art events which take place yearly during Bogotá art week. But London-based art advisor and curator Sandra Higgins believes a longer stay is necessary in order to understand “the full spectrum of art in Colombia.”

While most visitors were moving onwards after October’s busy art events, Sandra was looking for a home in Bogotá for the next six months. Her sojourn here will involve visits to galleries all over the country, numerous interviews, participation in the production of a documentary on Colombian art, and preparation for a future exhibition in London featuring Colombian artists.

Sandra’s relationship to Colombian art goes back to the 1990s, but it only truly began to deepen four years ago. Since then, she has been active in promoting Colombian artists through her gallery in Chelsea and other spaces.

Her last four exhibitions featured Colombian artists Carlos Jacanamijoy, Lucas Posada, Omar Casteñeda and Maripaz Jaramillo.

With her personal taste self-described as leaning towards the “painterly”, she would like to see more art created with traditional mediums alongside fashionable Colombian conceptual artworks represented in London.

The exhibition she organized for Lucas Posada was made possible with the help of Avianca, and Sandra is a firm believer in the increased possibilities that collaboration with the private corporate sector can provide.

The forging of such alliances is essential so that Colombia can open its arms to more and more art professionals, she said.

Colombia’s growing international appeal in terms of art is, of course, closely aligned to its growing appeal in general as a tourist destination and as a viable economic opportunity for foreigners.

In London, Sandra has observed that the lack of knowledge and negative stereotyping that has excluded Colombia from international visibility still persists to some extent. And she affirms that “the international art community needs to move beyond limiting associations related to the conflict.”

It seems clear that there is a wealth of opportunity to be uncovered, but for most artists the path to international success is still dubious.

As a former artist herself, Sandra can sympathize with the struggles of lesser-known Colombian artists.

Some may be riding on the positive waves of burgeoning international interest. But many local artists must exercise “patience and tenacity” as they strive to enter the limelight — and the notoriously capricious world of international art.


Original article written by Niamh Harnett and published in The City Paper


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