Anteriores

The most delicate feeling, according to Kant, branches into two kinds: one is the feeling of the beautiful, and the other is the feeling of the sublime. The affection produced by both is pleasant, but in very different ways — thus we see that the day is beautiful, and cleverness is small and beautiful. These are useful guidelines for understanding this German philosopher, who held that the day is beautiful and the night is sublime; this sensation has several levels, ranging from the melancholic to the horrific. From the great, which is sublime, to the beautiful, which is small — yet nothing is entirely certain or clearly defined. In this way these two kinds cross over into one another, provoking feelings that carry us from the beautiful to the sublime.

Historically, Antarctica has functioned as a laboratory for nearly every scientific discipline. More recently, however, the same has begun to happen with various artistic disciplines. From an aesthetic perspective, Antarctica is the ideal place for rethinking and resignifying notions such as time, space, and sound, in their physical, environmental, and spiritual dimensions; and also, why not, for sketching out utopias.

As part of the fiftieth anniversary of its founding, the Museo de Arte Contemporáneo de Bogotá invited artists Raúl Marroquín and Klaus Fruchtnis to create a visual dialogue between their works. Both artists share a mutual interest in the use of technology as part of their creative and artistic process. Their areas of research include digital imaging, satellites, drones, interactive and participatory installations, and the development of academic programs for sharing their research.

In the late 19th and early 20th centuries, the traditional art object — conceived to generate pleasure for our senses — began to acquire new formal and conceptual characteristics, thanks to the artist’s reflection and gesture of appropriation. Thus, in some cases, the new productions from this period moved diametrically away from painting, sculpture, and printmaking to involve industrial, found, and simulated objects drawn from everyday life. 

The community of the Minuto de Dios neighborhood was built through the strengthening of bonds of solidarity among its residents; here, culture is a pillar of social development that enables access to, enjoyment of, and reflection on contemporary art processes. 

During the first decade of the 21st century, Colombia experienced a series of macabre acts involving members of the Colombian National Army, who murdered civilians and passed them off as guerrillas killed in combat within the framework of the armed conflict, with the aim of showing positive results on the part of army brigades.

The power of the myth of Medusa centers on her mutilation. For thousands of years, ancient history has idealized Perseus: he beheaded the beautiful gorgon through cunning and deceit. Medusa’s head was placed by Athena on Perseus’s shield as a symbol of death and terror. Later, Pindar bestowed beauty upon her cheeks, and Ovid portrayed her as a maiden and priestess of Athena’s temple who was raped by Poseidon. Athena then punished her by transforming her hair into snakes. In this way, an archetype for the representation of women was defined: beauty-monstrosity / woman-death. Medusa was punished for her suffering, and her representation across the centuries reinforced ancestral fears of feminine power.

This year holds particular importance for the Museo de Arte Contemporáneo de Bogotá (MAC), as it marks 50 years since it began its work in 1966. From its very origins, this museum was conceived as an alternative, peripheral space that would serve the entire community living in the Minuto de Dios neighborhood and its surroundings; the lack of cultural spaces in the context of a city as cosmopolitan as  Bogotá remains evident, which is why a museum of this kind holds invaluable relevance, especially given its endurance over these five decades within the city’s cultural field.

From January 17 through February 15, 2013, the Museo de Arte Contemporáneo de Bogotá is exhibiting the II Concurso Nacional de Dibujo, held in partnership with Faber-Castell, in rooms one and two. This exhibition pays tribute to the figure and work of Rafael Pombo on the centennial of his death; art students and teachers from the most diverse regions of Colombia submitted 200 entries for review, of which 70 were selected.

On the occasion of the Year: France-Colombia 2017, Convergence Zone invites, in its second edition, the association imagespassages, dedicated to contemporary visual and digital arts, whose name originates from the exhibition « passage de l’image » organized by the Centre Pompidou in Paris in 1990/91, which questioned the status of the image with the arrival of the digital age and the internet.  Since its founding in 1993, ''imagespassages'' has been devoted to the dissemination of the moving image, both nationally and internationally.

The Centro Colombo Americano and the Museo de Arte Contemporáneo de Bogotá, within the framework of their cooperation agreement, join forces to present a significant showcase of the graphic and audiovisual proposals produced by UNIMINUTO students -Soacha campus- as part of their academic processes.

Dolorès Marat, La femme au sac à main, Charles-de-Gaulle-Étoile, 1987 © Dolorès Marat / Collection Maison Européenne de la Photographie, Paris.

Water is Gold is a project by the artist Marna Sánchez in which the work becomes an agent of social change and awareness about the use of natural resources, in this case water. With the question: Is water the crystalline gold that will one day be worth more than black gold “oil,” blue gold “Coltan,” or gold itself? The aim is to spark a dialogue that fosters collective awareness of the responsibility to preserve water sources and to create new technologies that promote and increase their levels, not only for human consumption but also for other species.

The Museo de Arte Contemporáneo de Bogotá would not have become a reality without the generosity of the founding artists who answered the call of Fr. Rafael García Herreros to give a broader meaning  to their artistic practice.

In a society that appears passive in the face of artistic, political, or other forms of action in favor of freedom, dignity, and the defense of other higher goods for humanity, why do some people decide to take personal risks and even put their lives in danger to defend these ethical principles and values?

An exhibition of works made by women that helps recover and give value to peripheral expressive and intellectual forms, while drawing attention to the non-neutrality of language and art, pointing to issues of gender, ethnicity, sexuality, and social class that span different contexts, generations, and geographies, without reproducing the stereotypes and formal and conceptual structures associated with women, the feminine, or femininity; instead, they use art as a platform for personal, political, and social vindication and revision in the face of traditional discourses on art, its history, and theory.