Documents of Latin American and Latino Art

Walter Engel wrote the review “David Manzur. En la Biblioteca Luis-Ángel Arango”, which was published on October 1, 1961, in the daily newspaper El Espectador. This article analyzes important aspects of the visual arts in Colombia in the 1960s. [...]

The brochure Trastorno: diálogo entre Jaime Iregui y Carlos Salas records a conversation held between the two Colombian artists in May 1999, days before their joint exhibition at the Museo de Arte Moderno in Pereira. The Pereira exhibition would [...]

In the article “Pintando con números” published in Bogotá-based newspaper El Tiempo on October 13, 1991, art critic José Hernán Aguilar reviews a solo exhibition of work by Carlos Salas Silva. The exhibition was held at Gaula, a venue that [...]

The article “50 kilómetros de arte ‘computado’. La obra de Manzur” by journalist Alegre Levy was published in Bogotá-based newspaper El Tiempo on November 20, 1972. It is a review of the exhibition Manzur that would open the [...]

In her article, “La Galería Santa Fe, una historia en tres momentos”, the freelance curator Ana María Lozano discusses the significant cultural changes that took place in Bogotá in recent decades and how this transformation made the city more [...]

“Observaciones” by Jaime Iregui, the artist and cultural agent, is the text from the first section of Tándem 2, the publication that also reported on the workshops presented at the exhibition Observaciones. Obra en Tándem con Carlos Salas [...]

Olga de Amaral: Cuatro tiempos is the title of the retrospective exhibition of works presented by the textile artist at the Museo de Arte Moderno in Bogotá from November 1993 to February 1994. It is also the title of the catalogue essay written by [...]

The anthropologist and art critic Natalia Gutiérrez examines some representative works by Colombian artists in order to analyze Colombian art of the 1990s. She believes this method helps her to avoid using general theories that “pigeonhole” them [...]

In October 2009, Jorge Luis Vaca interviewed visual artist Beatriz Eugenia Díaz for a research project entitled “Espacio, Tiempo; Movimiento: Análisis de Tres Prácticas en el Arte Colombiano” carried out for Bogotá-based Universidad de los [...]

Entitled “Rafael Echeverri,” this text by curator Carmen María Jaramillo was published in the catalogue to the retrospective exhibition of the same name held at the Museo de Arte Moderno of Bogotá in 1999. By means of notes on art history, [...]

Entitled “Artistas y obras en la exposición,” this chapter features the works selected for the Historia, Escenas e Intervalos: Fotografía y Video component of Proyecto Pentágono2000, a research project on contemporary art from Colombia [...]

Historias, escenas e intervalos: fotografía y video is the title of a theoretical research project undertaken by Juan Fernando Herrán in the framework of his curatorship of the area of photography and video for Proyecto Pentágono, an investigation [...]

This text by Colombian artists Graciela Duarte and Manuel Santana, founders of the Echando Lápiz [Using the Pencil] Project (which has been in operation since 2000), describes the conceptual idea behind the initiative. Its goal is to reflect on the [...]

In this article, published by the daily newspaper, El Tiempo, on May 24, 1991, the arts journalist and editor, José Hernández, announced the opening of Gaula. This gallery was a new exhibition space for contemporary art, located in the Macarena [...]

The Revista Arte Internacional, published by the Museo de Arte Moderno de Bogotá, dedicated its 15−16 edition to the theme “Latin America: Identity and Art.” In a special entry of the section “Registro,” Javier Gil, the Colombian art [...]

This essay, written by the art curator María Clara Bernal and published in the catalogue for the exhibition Displaced (2007), explains why it is important to address the subject of displacement as an essential feature of the contemporary world of [...]

The curator and cultural representative Jorge Jaramillo Jaramillo—who at the time was the director of the Galería Santa Fe at the Planetarium in Bogota—discusses several matters regarding the first edition of the Premio Luis Caballero [Luis [...]

Isadora de Norden—who was president of the Colombian-French Alliance’s Cultural Committee in Bogotá—wrote this introduction to the first publication of “Nuevas propuestas: arte colombiano 1999-2002” [New Works: Colombian Art 1999-2002]. [...]

The introduction to the catalogue for the exhibition of Latin American art Ante América [Regarding America]—presented in late 1992 at the Luis Ángel Arango Library and the Banco de la República in Bogotá—that was written by the art critic [...]

This document, written in 1977 by the Colombian artist Alicia Barney, is a mimeographed copy of the introduction to the installation Diario-objeto [Diary-Object] (1978) shown at the exhibition held at the Extensión Cultural [Cultural Extension] [...]

This is the text for Otras Miradas = Other Glances, written by the historian and art critic Carmen María Jaramillo Jiménez for the exhibition that was organized with the help of the Colombian Ministry of Foreign Affairs in 2004. The [...]

“Social Taxonomy and Political Botany” are alternative names associated with the text “Flora Necrológica” [Necrological Flora], in which the art critic José Ignacio Roca discusses the meaning of the term “violence” from a Colombian [...]

In the chapter called “Las huellas de la guerra” [The Scars of War] (2003), the Colombian historian Gonzalo Sánchez G. discusses the “very complex and allusive” relationships involved in the trilogy Guerras, Memoria e Historia [Wars, Memory [...]

This conversation between Nadín Ospina and the German art critic and director of the Fundación Daros Latinamerica (Zürich and Rio de Janeiro) Hans-Michael Herzog took place on February 3, 2004 in Bogotá. This document and the accompanying [...]

The conversation between the Colombian artist María Fernanda Cardoso (Bogotá, b. 1963) and the German art critic and director of the Fundación Daros Latinamerica (Zürich and Rio de Janeiro) Hans-Michael Herzog, took place on June 29, 2004, in Zü [...]

The Uruguayan art historian and executive publisher of the magazine Arte en Colombia-Art Nexus, Ivonne Pini wonders, “How should the visual arts address our past?” She points out that the “rupture of modernism” did not happen in Latin America [...]

“Eclosiona un arte: acercamientos a la vida de Pedro Manrique Figueroa” [Emergence of an Art Form: Approaching the Life of Pedro Manrique Figueroa] by writer Lucas Ospina is the preface to the catalogue of Exposición de homenaje a Pedro Manrique [...]

Critic Miguel González begins this interview with Alicia Barney acknowledging the seriousness with which she undertakes her work. The conversation, which took place in 1983, addresses Barney’s experience starting with her academic training in [...]

The article “Alicia Barney: el paisaje alternativo, aferrada al drama que la naturaleza provoca” [Alicia Barney: The alternative landscape, clinging to the drama that nature brings] by Colombian critic Miguel González was published in the [...]

The Colombian artist Víctor Laignelet discusses the ability in painting to expand its range of action—what he calls its antropofagia [anthropophagy]—as it absorbs “new visual expressions” such as “installations,” exposing the roots of [...]

Carmen María Jaramillo, the curator of the exhibition A través del espejo [Through the Looking Glass], begins her essay by clarifying the terms and sources she used in her approach to “painting’s self-appraisal.” She reviews the mutable, [...]

The title “Notas sobre una pintura lijada, pintura imposible, pintura lisa” [Notes on Sanded-down Painting, Impossible Painting, Smooth Painting] provides insight into the text in which the artist Danilo Dueñas discusses the act of painting, the [...]

This article by Carolina Ponce de León was published in the Colombian daily newspaper El Tiempo in response to the controversy surrounding the Segunda Bienal de Arte [Second Art Biennial] of the Museo de Arte Moderno [Museum of Modern Art] of Bogot [...]

The title, “Cardoso: entre lo refinado y lo siniestro” [Cardoso: Between the Refined and the Sinister] reflects the point of view of Javier Gil, a Colombian critic, on the work of his interviewee, María Fernanda Cardoso, a young artist who won [...]

In the introduction to his book, Papaver somniferum (a research and art project based on the name of a type of poppy), Colombian artist Juan Fernando Herrán states the motives that led him to the poppy flower. Although the poppy flower had been a [...]

The subject of this chapter of Papaver somniferum, a study of the poppy undertaken by the contemporary Colombian artist, Juan Fernando Herrán, is the perception of the landscape. Herrán contends that it is anything but neutral, since both cultural [...]

According to this essay by José Ignacio Roca, starting in the mid-1990s, the work of contemporary Colombian artist Juan Fernando Herrán showed his “methodical interest” in the “relationship between the mechanisms and manifestations of control [...]