A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
For ARTBO 2021 we present a stand that is articulated through the concept of revisionism and reinterpretation of artistic currents. Fernando Arias and his work Tabla that formally refers us to Constructive Universalism, João Trevisan that through formalist painting revisits authors such as Rothko, Nicolás Consuegra proposes a revisionism from the modernist typographic design in Venezuela and finally Sonnia Yepez with his works that are a conceptual game and reinterpretations on the School of La Sabana in Colombia in the late nineteenth century. Finally, Andres Matias Pinilla in his sculptures refers us to still lifes reimagined from the contemporary.
FORO.SPACE is a contemporary art gallery based in the city of Bogotá, Colombia. We represent artists whose practices reflect and question the different dimensions of the social subject. Our program is focused on individual and long-term exhibitions. Representing a roster of Latin American artists, we offer exhibitions that are a turning point, both in the career of the artist, and in the national artistic panorama. A strong theoretical component is highlighted in the programmed exhibitions.
fernando arias (b. 1963 in armenia, colombia) lives and works between choco and bogotá, colombia through video, photography, installation and actions he explores the human condition. recurring themes include social and environmental issues, conflict, politics, sexuality and religion. In addition to his personal practice, arias involves other artists and professionals on projects through his foundation más arte más acción. here, arias devises interdisciplinary projects to explore challenging social and environmental issues. the foundation generates critical thinking through cultural exchanges. in 1994, arias received the national art prize in colombia and since then his work has regularly been exhibited internationally. nn 1999, he represented colombia at the 48th venice biennial His foundation Más Arte Más Acción is one of the collectives participating this year at Documenta Kassel 15
fernando arias (b. 1963 in armenia, colombia) lives and works between choco and bogotá, colombia through video, photography, installation and actions he explores the human condition. recurring themes include social and environmental issues, conflict, politics, sexuality and religion. In addition to his personal practice, arias involves other artists and professionals on projects through his foundation más arte más acción. here, arias devises interdisciplinary projects to explore challenging social and environmental issues. the foundation generates critical thinking through cultural exchanges. in 1994, arias received the national art prize in colombia and since then his work has regularly been exhibited internationally. nn 1999, he represented colombia at the 48th venice biennial His foundation Más Arte Más Acción is one of the collectives participating this year at Documenta Kassel 15
fernando arias (b. 1963 in armenia, colombia) lives and works between choco and bogotá, colombia through video, photography, installation and actions he explores the human condition. recurring themes include social and environmental issues, conflict, politics, sexuality and religion. In addition to his personal practice, arias involves other artists and professionals on projects through his foundation más arte más acción. here, arias devises interdisciplinary projects to explore challenging social and environmental issues. the foundation generates critical thinking through cultural exchanges. in 1994, arias received the national art prize in colombia and since then his work has regularly been exhibited internationally. nn 1999, he represented colombia at the 48th venice biennial His foundation Más Arte Más Acción is one of the collectives participating this year at Documenta Kassel 15
João Trevisan (b. 1986 in Brasilia, Brazil) Lives and works in Brasilia, Brazil. His work consists of exploring questions related to the maxim of an object dealing with matter, weight, lightness, tension, articulation, balance, and politics. Trevisan’s work is an exercise of balance and rhythm. His paintings with black backgrounds and vertical lines of varying thickness discuss intervals. Almost like a musical sheet where the reading of what is present part from the empty space: from the interval. In his sculptures, he explores weights and supports between wood, metals, and gravity. Using elements found on the banks of the railroad, Trevisan groups and organizes them in different ways, producing new bodies.
João Trevisan (b. 1986 in Brasilia, Brazil) Lives and works in Brasilia, Brazil. His work consists of exploring questions related to the maxim of an object dealing with matter, weight, lightness, tension, articulation, balance, and politics. Trevisan’s work is an exercise of balance and rhythm. His paintings with black backgrounds and vertical lines of varying thickness discuss intervals. Almost like a musical sheet where the reading of what is present part from the empty space: from the interval. In his sculptures, he explores weights and supports between wood, metals, and gravity. Using elements found on the banks of the railroad, Trevisan groups and organizes them in different ways, producing new bodies.
João Trevisan (b. 1986 in Brasilia, Brazil) Lives and works in Brasilia, Brazil. His work consists of exploring questions related to the maxim of an object dealing with matter, weight, lightness, tension, articulation, balance, and politics. Trevisan’s work is an exercise of balance and rhythm. His paintings with black backgrounds and vertical lines of varying thickness discuss intervals. Almost like a musical sheet where the reading of what is present part from the empty space: from the interval. In his sculptures, he explores weights and supports between wood, metals, and gravity. Using elements found on the banks of the railroad, Trevisan groups and organizes them in different ways, producing new bodies.
nicolás consuegra (b. 1976 in bucaramanga, colombia) lives and works in bogotá, colombia. his creative practice is defined by a close relationship with the contexts of production and exhibition, and the audience to which my work is directed. during the last years, i have focused my research on a historical and geographical study of site-specific projects, as well as on the analysis of space in its physical and social aspects. during this time, he has developed sculptural pieces, photographic series, video pieces, and large-format installations that investigate the idiosyncrasies of exhibition spaces and the uses we give to functional and contemplative objects
nicolás consuegra (b. 1976 in bucaramanga, colombia) lives and works in bogotá, colombia. his creative practice is defined by a close relationship with the contexts of production and exhibition, and the audience to which my work is directed. during the last years, i have focused my research on a historical and geographical study of site-specific projects, as well as on the analysis of space in its physical and social aspects. during this time, he has developed sculptural pieces, photographic series, video pieces, and large-format installations that investigate the idiosyncrasies of exhibition spaces and the uses we give to functional and contemplative objects
nicolás consuegra (b. 1976 in bucaramanga, colombia) lives and works in bogotá, colombia. his creative practice is defined by a close relationship with the contexts of production and exhibition, and the audience to which my work is directed. during the last years, i have focused my research on a historical and geographical study of site-specific projects, as well as on the analysis of space in its physical and social aspects. during this time, he has developed sculptural pieces, photographic series, video pieces, and large-format installations that investigate the idiosyncrasies of exhibition spaces and the uses we give to functional and contemplative objects
sonnia yepez (b. 1992 in buga, colombia) lives and works in bogotá, colombia her body of work seeks for dissolved encounters between the poetic and the mundane; to remove things of their formal and linguistic function, and to grant them a language that is born from the parallelism between the word, the matter and the object; her proposal is a semantic game between objects, actions and perception, pointing out the anthropological aspects that surround the attention to the objects she proposes visual discourses based on the manipulation, intervention or composition of these. this transgression, which preserves the identity of each element, confirms that the existence of things is only relevant when we observe them
sonnia yepez (b. 1992 in buga, colombia) lives and works in bogotá, colombia her body of work seeks for dissolved encounters between the poetic and the mundane; to remove things of their formal and linguistic function, and to grant them a language that is born from the parallelism between the word, the matter and the object; her proposal is a semantic game between objects, actions and perception, pointing out the anthropological aspects that surround the attention to the objects she proposes visual discourses based on the manipulation, intervention or composition of these. this transgression, which preserves the identity of each element, confirms that the existence of things is only relevant when we observe them
sonnia yepez (b. 1992 in buga, colombia) lives and works in bogotá, colombia her body of work seeks for dissolved encounters between the poetic and the mundane; to remove things of their formal and linguistic function, and to grant them a language that is born from the parallelism between the word, the matter and the object; her proposal is a semantic game between objects, actions and perception, pointing out the anthropological aspects that surround the attention to the objects she proposes visual discourses based on the manipulation, intervention or composition of these. this transgression, which preserves the identity of each element, confirms that the existence of things is only relevant when we observe them
