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.

Context

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

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.

 

Scope

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

DATES

 

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”

mambo

 

“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 ExpoEscocia.com in 2011.

Eivar Moya


Graciela Gómez


Manuel Serrano

 

 

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ArtBo 2016

artbo

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 www.artbo.co 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.

CONDITIONS FOR PARTICIPATION
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: artcali.convocatoria@gmail.com 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: convocatoria@gmail.com (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.

SELECTION CRITERIA
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.

PUBLICATION OF SELECTED ARTISTS
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:
www.artcali.co

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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Lina Sinisterra: Flying High at the Pudahuel Airport in Chile!

Lina Sinisterra is a well known artist who works out of Bogota. Better known for her paintings or art installations using candy she has recently hit the headlines again for the presentation of her latest public sculpture situated at the Arturo Merino Benitez Airport in Pudahuel, Santiago, Chile. For some the installation has a polemical side as the aeroplanes that form the sculpture are lit in the colors of the Colombian flag and not the Chilean!

The following article has been translated by ArtColombia from the original article by Denisse Espinoza published in La Tercera newspaper on the 22nd December 2015.

Lina Sinisterra sculpture in Chile

 

Aircraft lit for the Pudahuel airport

All Destinations” is an artwork 14 meters high of the Colombian artist Lina Sinisterra, winner of the public art commission MOP Antúnez which has been newly installed at the entrance of Arturo Merino Benitez Airport.

After more than 10 years of twists and turns, the work of the Colombian Lina Sinisterra (1970) has just opened at the entrance of Arturo Merino Benitez Airport. In 2001, the artist first participated at the contest defined by the Nemesio Antúnez Commission Ministry of Public Works (MOP), which allocates 0.5% of the total cost from the airport to the development of a work of art. That year, Sinisterra came second, being surpassed by Chilean Patrick Steeger and his work Legoport, a sculpture made with suitcases. Sinisterra was then offered the opportunity for her art proposal to replace the mural “Verbo América” by Roberto Matta, which was transferred from the airport to the Metro station Quinta Normal in 2003.

However, due to administrative issues the budget to create Sinisterra’s work was frozen, only to be revived as project this year, but now placed outside the airport and with monumental proportions. The installation “All Destinations”, with a cost of CLP$ 250 million (around USD 350,000), is 14 meters high and 30 meters in diameter, and is composed of 42 colored planes that are illiminated at night through a system of LED lights, programmed to turn on and off to simulate a motion effect, as if the planes were advancing one after another, moving and returning to the same place.

“I have an obsession with rescuing the pleasure and joy I felt as a child with colors and toys. I want to return to childhood playfulness. The sculpture is a welcome and an invitation to this place, where it one can be on their way towards a dream, to start unexpected experiences” says Sinisterra.

The Colombian artist has a strong tie with Chile: in the late 90s she attended the Masters in Visual Arts at the University of Chile and lived in the country for 10 years, while a student of Eugenio Dittborn. Her initial training, though, is as a psychologist: to Sinisterra art has a therapeutic nature, rather than a profession it is a way of life.

Now based in Colombia, the artist has created installations and exhibitions in Bogota, Sao Paulo, Caracas, Madrid, Santiago and has just participated in the Miami Art Basel Art Fair. “I do not feel connected to political art. Mine is the aesthetic pleasure and from there to understand something else, but not from tragedy” she says.

The Antúñez Commission, for its part, created in 1994 has installed more than 180 public artworks throughout Chile. This year it also inaugurated a sculpture by Federico Assler in Coronel, which cost CLP$ 114 million, and in May three winning works were awarded to artists José Vicente Gajardo, Marcela Romagnoli and Francisca Sánchez to be installed along the highway of the Puerto Montt-Pargua for a total cost of CLP$ 446 million. They will be opened in the coming months.

Link to original article in Spanish: Cultura-La Tercera

 

Video of the Sculpture: “All Destinations” created by Lina Sinisterra

‘Symmetry of Memory’ – Germán Bernal

Symmetry of Memory - German Bernal

Symmetry of Memory

An artistic dialogue between the geometry of nature and materials like wood and rice paper is that which is being presented in Cero Gallery by the Bogota artist Germán Bernal (1959), in his exhibition ‘Symmetry’ of Memory.

After living for 25 years in Europe, Bernal decided to return to Colombia a few years ago, specifically to a reservation near Icononzo (Tolima), where he created a space for artist residences for those  artists interested in working with nature.

“In my work I am evoking, somehow, the memory of nature and materials. And I use geometry as a language of knowledge, “says the artist, who trained as a photographer in Workshop 5 and then continued working in Europe with video techniques and jewelry.

The exhibition presents works of medium format in which geometric figures are worked in mixed media using recycled Japanese books of poetry, history and geometry papers and paper currency, in a clear allusion to the ancient wisdom of the East.

“I’ve always been inspired by Japanese aesthetics. I think we have much to learn from them. So I started working this series with Japanese writing paper, because I think that the handwriting has great mystery and magic” notes the artist.

In his wood sculptures, made from walnut, Bernal also returns to the experience gained of being a craft jeweler during many years in Hamburg.

Not surprisingly, he defines some of his works as ‘light clocks’, inspired by the careful assembly of a jewel in large format. It is curious how they change according to the perception of the viewer. “Somehow they deal with kinetic art, this being my updated proposal in wood” he says.

In his sculpture, Bernal reflect particular concern about their movement. “They are inspired by geometry, but here is a more organic form that evokes water waves and sound,” he concludes.

Symmetry of Memory - German Bernal

Symmetry of Memory

The exhibition runs until the first of December.

Cero gallery, Calle 80 n. ° 12-55, Bogotá

Inf .: (1) 217-7698 www.cerogaleria.com

Translated from an original article in ElTiempo.com written on 22nd November 2015

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Beatriz González: The World Goes Pop – Tate Modern, London

While in London visiting the Frieze exhibition I heard that the renowned Colombian artist Beatriz González had work included at “The World Goes Pop” exhibition at the Tate Modern…so I decided to go along.

The Tate Modern is generally free to enter if you want to view its collection but as this was a special show there was a £14.50 (or £16 with a donation) charge for the general public. The museum itself is located quite centrally in Southwark along the South Bank of the river Thames and is reasonably easy to reach.

The exhibition was themed around pop art and it was divided into different sections The collection was curated by Flavia Frigeri and Jessica Morgan and and I think they have done good job after spending several years looking for pop art that was not defined by its commerciality.

“It’s pop art definitely that does have a twist and very often it has a political twist to it which is something you don’t always see with your more traditional pop artists,” commented Flavia Frigeri in relation to the whole show.

Beatriz González’ work was placed into a section called folk art and although to me the works of the other artists present in that section did seem more like folk art it doesn’t seem to me to be the best fit especially given the nature of her work as actually described in the curatorial process as being of a strongly political nature.

Much of Beatriz Gonzalez’ artistic formation was born with the period known as “La Violencia” (“The Violence”) which started in 1948 when she was just 10 – an age when most of us start to become more aware of what goes on around us – and which continued through to around 1958.

What was a surprise to me, though perhaps it shouldn’t have been given the standard of the museum was that the pieces chosen to be shown are arguably her most famous/promoted works which date back to the mid 60s and early 70s and perhaps her most representative of that period….but she has done much more work since then none of which was included perhaps due to the time period over which the curators wanted to consider the creation of “pop art”.

Beatriz Gonzalez - Tate Modern

“Los suicidas de Sisga” (1965) – The Sisga Suicides

Los suicidas de Sisga earned Beatriz Gonzalez a prize in the National Art Salon of 1965.

“The Sisga Suicides” painting number 1, 2 and 3 resides in three different collections:
– the first is from the Diana and Bruce Halle private art collection
– the second from the “La Tertulia” museum
– the third from the Colombian National Museum in Bogota

The Sisga bridge crosses a gorge and is located about an hour and a half north east of Bogota. It is situated beside a reservoir that provides Bogota with part of its water needs. It was there that the desperate couple decided to end their lives.

Beatriz Gonzalez and others were of course highly impacted by this desperate event and as such she chronicled it through her art using the pictures of the lovers that appeared in the local press at the time. Her criticism was of the presses macabre interest in the event, often called “amarillismo” or “yellow journalism” which basically refers to its crude and striking nature that many sensationalist “newspapers” used as their angle, befitting to the gutter press rather than serious news establishments. It was also perhaps made as a commentary on the continued interest in violent events at a time when the first guerrilla were starting to form looking to combat the wealthy “owners” of the political establishment.

To the art critic Eduardo Serrano, the “Sisga Suicides” is a work “that marks a interest in social problems which focuses the problems of people of few resources, and which until that moment was not a theme of priority in Colombian art.”*

It is the style of the work in itself that lends to its classification as pop art:
simple line definitions and simple colours reminiscent of Warhols work. Were it not so, this style would perhaps be simply classed as naif, despite the fact that Gonzalez studied fine arts and art history at the University of the Andes and in 1966 studied graphics in Rotterdam.

Colombian Art

“La Última Mesa” (1970) – “The Last Table”

“The Last Table” depicts her rendition of da Vinci’s “The Last Supper” by imposing it upon the actual table surface. The object measures 760 x 2053 x 1052 mm and is dinner table size. Whether it was her intention or not, it was still not unusual for dead bodies to be laid out on the dinner table. An unconscious reflection of the society, its violence, its’s religion and culture?

As an artist instead of using traditional and fine linen, Beatriz González decided to use metal, furniture, tires, shower curtains, pots. Her characters have been the political, social and religious aspects of life in Colombia and “La Última Mesa” is a prime example of that.

“Looking at others through the eyes of others” is how Beatriz González describes her art and the complete works of Beatriz Gonzalez is a critical and acute journey through the history of Colombia.

Exhibition Dates & Details

The exhibition continues through to 24th January 2016 and I think it a very enjoyable couple of hours could be had here that would allow you to get to see pop art presented in a different way and see some new artists that are perhaps eclipsed by the ever-present giants such as Warhol, Lichtenstein and Indiana.

An audio guide is available for £4 and a softcover book for £25. I think they would get more book sales if they gave a £4 discount on its purchase to those who bought the audio guide….but I´ll leave the marketing up to the Tate 😉

Beatriz González: The World Goes Pop
The EY Exhibition: Eyal Ofer Galleries, Tate Modern, London
15 Sept – 24 January 2016

* Sourced and translated from Semana

** If you would like to know more about Beatriz Gonzalez’ work I highly recommend this interesting blog by Alex Kittle and this excellent interview published in Spanish with Beatriz González reviewing her life and art in Colombia  by María Paulina Ortíz.

The patchwork quilt, trunk of memories

Art Exhibition: The patchwork quilt, trunk of memories

neebex-caucho retazos

Neebex is a space dedicated to emerging art in Colombia, located in Candelaria in the centre of Bogota. Since 2012 the gallery has worked with a focus on young artists to support their projects. The gallery space is also available for students visits, the distribution of fanzines and independent publications.

Opening Thursday November 11, 2015
Until November 27.

Monday-Friday 10 am-6pm.

Free entrance.

Kra 3 # 12-42 | Tel. 2849490
Bogota, Colombia