Fairs

Lina SINISTERRA

"El silencio del color"

 

1st Floor Gallery

April 14 - May 13, 2016

 

Why do I paint? Since I ran out of words and am always perplexed at this life that amazes me, for me, painting is a way to live twice.   If words are pure existentialism, painting is urgency: the silent word. What there is to say has no name or image. This is what forces me; I mean, for me painting is the petrification of pure subjectivity, of what no longer is, of what was. Camus's words when he said "to create it is to live twice” can be clearly understood here.

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María Cristina CORTES

"Desmadre"

 

2nd Floor Gallery

April 14 - May 13, 2016

 

Since the beginning of her career, Maria Cristina Cortes has dealt with the subject of landscape and has been addressing the destruction of nature at the hands of man for a while. Already in Chambas (1998 - 2001), there were floating objects in her paintings in sometimes murky and polluted water. In more recent works such as Rastrojal (2008) and Quebrantos (2010), half-burned logs and charred tree trunks have also made an appearance.

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Sebastián CAMACHO

"c a p a s"

 

Project Space

April 14 - May 13, 2016

 

There has been a layered thought since the invention of bound books: to access information that is assumed as continuous we must turn each sheet, one after another, to generate a complete image that is spread on each page. Unlike papyrus, which involves a continuum of reading to the right or left on the roll, the book maintains one unit in each sheet, devoid of all meaning without its kin. Or rather, the partiality of each of the sheets in relation to the story as a whole makes us think that a page of a book is always both fragment and whole, depending on how it is read. In recent years, this situation has changed dramatically with the invention of the Internet because of the transformation of forms of reading which also work as layers of information discontinuously depending on the relationship that the user has with the platform. An Internet search, either by text or image (still or moving), implies the recognition of a code other than a book because the notion of what comes first and what comes after has a different relationship with "depth" even though it retains the conventions of reading (what is ahead is always later).

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Lina SINISTERRA

"El silencio del color"

 

Galería 1er Piso

Abril 14 a Mayo 13 de 2016

 

El presente trabajo de Lina Sinisterra intenta eludir y significar a la vez el efecto paralizante de los lugares comunes de la expresión del pintor mediante la auto imposición de reglas de juego muy precisas que terminan por construirse en parámetros de procedimientos pictórico (*del texto de Gonzalo Díaz).

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María Cristina CÓRTES

"Desmadre"

 

Galería 2do Piso

Abril 14 a Mayo 13 de 2016

 

Desde los inicios de su trabajo, María Cristina Cortés ha tratado el tema del paisaje y de un tiempo atrás ha abordado la destrucción de la naturaleza a manos del hombre. Ya en Chambas (1998 - 2001), se veían en sus pinturas objetos flotando en aguas a veces turbias y contaminadas. En trabajos más recientes como Rastrojal (2008) y Quebrantos (2010), han aparecido chamizos secos y troncos calcinados.

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Sebastián CAMACHO

"c a p a s"

 

Espacio Proyectos

Abril 14 a Mayo 13 de 2016

 

Desde la invención del libro encuadernado ha existido un pensamiento en capas: para poder acceder a la información que se supone continua, hay que pasar cada una de las hojas, una tras otra, para generar una imagen completa que está diseminada en cada página. A diferencia del papiro, que implica una continuidad de la lectura hacia la derecha o hacia la izquierda en el rollo, el libro conserva una unidad en cada hoja que, no obstante, carecería de sentido total sin sus parientes. O mejor, la parcialidad de cada una de las hojas en relación al relato como totalidad nos hace pensar que una página de un libro siempre es a la vez fragmento y totalidad, depende de cómo se lea. En los últimos años esa situación ha cambiado radicalmente con la invención del internet porque se transformaron las formas de lectura que también funcionan por capas de información pero de forma discontinua que depende de la relación que el usuario tiene con la plataforma. Una búsqueda en internet, ya sea de texto o de imagen (fija o en movimiento), implica el reconocimiento de un código diferente al del libro porque la noción de lo que va primero y lo que va después, aunque conserva las convenciones de la lectura (lo que está adelante siempre es posterior), tiene una relación diferente con la “profundidad”.

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Lenguajes en papel

  Gallery March 2 – April 8, 2016 Text Room   Next Wednesday, March 2, Galería El Museo opens its annual program with the seventh edition of the Lenguajes en Papel collective exhibition. This version features the work of more than 50 artists, who proposed paper as an expressive medium in contemporary art practice. This exhibition attempts to give more prominence to the plastic versatility of paper and the endless possibilities brought about by its use.   In this exhibition we wanted to invite different artists from...

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LENGUAJES EN PAPEL

  Galería Marzo 2 – Abril 8 de 2016 Texto Sala   Galería El Museo inicia su programación anual con la séptima edición de la exposición colectiva Lenguajes en Papel. Para esta versión tendremos la obra de más de 50 artistas, que plantean el papel como medio expresivo dentro de la práctica artística contemporánea. Esta exposición trata de visibilizar la versatilidad plástica del papel y la infinidad de posibilidades que se generan haciendo uso de este.   En esta muestra se quiere invitar a diferentes artistas...

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MAESTROS

Galería

December 3 to January 29, 2016

 

The plurality of Colombian art is evident in this exhibition, which shows, through the works of different artists, the avant-garde trends that influenced the history of the visual arts in our country and transformed them dramatically nationwide. Genre works, landscapes and still lifes were the protagonists par excellence for decades in our country. From there, and with the support and guidance of teachers in the schools that had, at some point in their lives, direct access to the Western trends of the beginning of the century, Colombian art started to gain more autonomy, consistency and vigor. The regulating principles of the so-called twentieth century avant-gardes, such as impressionism, cubism, geometric and expressionist abstraction, pop, surrealism, hyperrealism, expressionism and figurative art adapted to our culture and our needs for experimentation, leading to a multiplicity of proposals that, in most cases, enjoyed great recognition both nationally and internationally.

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Freda SARGENT

Project Space

December 3 to January 29, 2016

 

Her subtle palette of bright colors builds enigmatic spaces that recall dreams, fables or visions of her childhood. The blue in different shades, the cheerful and festive yellow and the skillfully handled reflections of light are all in part the record of what Sargent sees. Her extraordinary sensitivity leads her to discover the fragility of things and the transience of the moment, which, through the charm of her stroke and gesture, develop a language closer to figurative art that has a major interest in the composition, light, and color. As she says it, "I paint what I see, I paint my life”, and Freda therefore takes elements of landscape, stops nature and immortalizes characters.

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