The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In 1983, a sculpture garden opened in Cerro Nutibara in Medellín, Antioquia, featuring works by international artists Manuel Felguérez (Mexico); Julio Le Parc (Argentina); Sérgio [de] Camargo (Brazil); Carlos Cruz Díez and Jesús Rafael Soto (Venezuela). Works by Colombian artists John Castles, Carlos Rojas, Alberto Uribe, Ronny Vayda, and Edgar Negret were included as well. In this interview, Castles voices his impressions of the project, which received widespread recognition in Medellín. He places emphasis on the valuable opportunity to work with international figures, and on the cultural importance of the project. Castles’s piece in the garden consisted of four metal cylinders arranged by virtue of their weight, so that three of them held up the fourth, which was placed at the center.
At the time of its opening, the sculpture garden in Cerro Nutibara in Medellín was considered the fourth most important sculpture garden in the world. John Castles (b. 1946), a promising young sculptor at the time, was given the opportunity to exhibit his work alongside widely recognized Colombian artists like Ronny Vayda (b. 1954), Hugo Zapata (b. 1945), and Germán Botero (b. 1946). After beginning studies in architecture, Castles made expressionistic paintings until 1970, when he turned to the sculpture medium under the influence of Edgar Negret. In 1972, he also started teaching art.
This article is one of a series of texts and reports published in the Saturday supplement to Medellín newspaper El Mundo on the occasion of the opening of the sculpture garden. Twenty-five years later, the sculpture garden was in a state of disrepair due to vandalism.