Anteriores

Biology has taken on the study of living beings, their origin and evolution, of how a body is built and how it functions, its nutritional, reproductive, pathogenic, morphological functions, among others. “A body is not empty. It is full of other bodies, pieces, organs, parts, tissues, kneecaps, rings, tubes, levers and bellows. It is also full of itself: it is everything it is;” (Luc Nancy 2007) a body is impenetrable, yet at the same time it is dislocated and torn, it is profaned. The body is within everyone's reach, it is exposed to time, to wear, and will therefore leave a mark on material space. The body, without a doubt, is a space of perception, of action and of practice that has occupied and will continue to occupy an important place in contemporary art, remaining a permanent focus of attention.

When one sees Ericailcane's work for the first time, the fables of the Frenchman LaFountain immediately come to mind, in which animals represent the virtues, flaws, and the entire complex universe that makes up the human being.

Libro Contable is a relational artistic action proposal that brings together visual arts, audiovisual arts and literature, seeking to explore and raise questions about the relationships and conflicts between the urban context and nature, in its domesticated and incorporated form, which manifests itself as food brought from the countryside for consumption by city dwellers within the sphere of commercial exchange.

Under the direction and curatorship of Manu Mojito and Paulo Álvarez, MUÑECOS DE LOZA reflects on one's own body or that of the other as a pretext for artistic exploration.  The idea of another self, the alter ego, the borrowed body, embodiment, becoming, possession, performance and self-reinterpretation, among other terms that frame the exhibition, which examines the ideal of the contemporary body.

Since ancient times, astronomers and scientists have turned their eyes to the sky as a field of study and fascination; their observations, recorded and compiled in great volumes, were for centuries our point of reference for the universe, its processes and phenomena. In these gaps, our gaze has been losing its capacity for wonder and attention, surrendering our observation to tedium and the obvious. The relationships established between what we see, the mental image, and the representation we make of it are diametrically opposed, in such a way that the unencompassable vastness of space can be contained on a piece of paper.

César Padilla has gone through a long process of training in which he has gradually mastered line work, using it to generate a rich visual vocabulary expressed in screen prints, aquatints, etchings, paintings, bas-reliefs, reliefs, laminar sculptures, artist's books, poetry collections, wire works, drawings and objects.

"Reality is merely an illusion, albeit a very persistent one" 

Process art, or art-in-process, is an artistic movement as well as a creative sensibility and a worldview in which the final product of art and craft—the art object—is not the main focus. Process, within process art, refers to the formation of art: searching, classifying, gathering, associating and experimenting. Art is therefore seen as a creative journey or process, rather than as a finished product.

The DEMARCHA collective is an interdisciplinary artistic working group that has, since 2014, been developing a variety of urban aesthetic proposals of a museographic nature, building incursions-reflections around universal art and popular art; carrying out interventions, drifts and actions that are contextualized and iterated in contemporary terms within specific geographic spaces—as in this case, in the working-class neighborhood of Bogotá known as Pardo Rubio.

The Museo de Arte Contemporáneo de Bogotá wishes to inform you that it will be closed from December 20 to January 13, 2015. We look forward to welcoming you back starting January 14, during our regular hours: Monday to Friday from 9:00 a.m. to 6:00 p.m., and Saturdays and the last Sunday of the month from 10:00 a.m. to 4:00 p.m.

"I have always liked my name, even after it became fashionable among people, and so, as young, educated people tend to do, I wrote it everywhere"

MonsTruacioN is a collective that intervenes houses, buildings and any kind of space; on this occasion, their drawings and direct interventions on the museum's walls will bring us closer to a world full of dark, grotesque, real imagery—another facet of drawing and illustration that reflects on and deforms the different contemporary artistic practices, starting from the "stain," "the shape," line and color, to re-signify characters, places and everyday spaces on different surfaces, whether a sheet of paper or a wall.

Sign-Nature is an exhibition by graffiti writer Joems, who used some of the walls of the Museo de Arte Contemporáneo de Bogotá to write his signatures and draw icons of contemporary culture charged with humor and cynicism. This, of course, with the aim of sparking dialogue and confrontation about what is "ugly" or "pretty," about what drives us as a society, and about what should or should not be included within the museum scene.

This exhibition revolves around feminine beauty, a force of infinite powers that acts on both the carnal and the psychological plane, generating passion. Beautiful women experience splendor in their youth and then inevitable decline. The attempt to preserve that splendor is a human longing that the sculptor Maquiamelo has resolved by creating portraits that turn out to be striking replicas of the famous shrunken heads of the Jivaro people of Ecuador, called tzantzas in the native language.

"I see that the same thing has happened to me as happens to manuscripts rolled up and forgotten for a long time: one must unroll the memory and, now and then, shake out everything stored within it." 

The saturation of information and the excessive, unconscious production of objects that currently overwhelms us are the substrates that artist Falon Cañón uses to create and produce her work.