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 its stand at Artbo, SGR Galería proposes to show works by five of its represented artists: Nicolás Bonilla, Mariana Murcia, Tahuanty Jacanamijoy, Lorena Torres and Javier Morales Casas. It will be the occasion to make manifest the aesthetic dialogues that arise between the artists of the gallery, while we open a window towards certain concerns that appear repeatedly in the work of Colombian young artists. On the one hand, the paintings and drawings of Tahuanty, Lorena and Javier, somehow seek to explore the need to reconnect with local narratives, away from exoticist or colonizing views. Through semiotic universes that arise from their personal experiences, and from a collection of stories and popular wisdom, they create pieces that function as anecdotes or moments of new mythologies in which the traditions of our territories and the contemporary urban experience merge. On the other hand, the works of Camila Barreto and Nicolás Bonilla, of a much more formal nature, find a point of union in the creation of abstract forms and in an intuitive procedure of composition and construction of narratives. Finally, Murcia's work explores her relationship with water, building it from a place of strangeness and dislocation in our way of relating to the environment and how we perceive reality. Mariana tries to explore how to be other, how to radically change the place of enunciation. This intention of dislocating the discourse, crosses in some way the five proposals that we present, the need to
SGR Galeria is an art space that has dedicated itself to foment and diffuse contemporary artistic proposals originating in Latin America. We wish to present to our audience an approach to contemporary art that dissociates itself from over-intellectualized discourses, aimed specifically to a specialized audience. Through an exhibition program that is installation and site-specific oriented, the gallery thrusts its artists into realizing large scale spatial interventions that play and reconfigure the architectural composition of the gallery’s space. Thanks to this strategy, SGR has been able to challenge preconceived ideas about the traditional forms of exhibition considered appropriate in commercial contemporary art venues, while defying its artists to expand the limits of their personal practices. Finally, this method emphasizes the importance that lies in the relationship between visual arts and architecture: How art inhabits and transforms the spaces we live in.
NICOLAS BONILLA 1984, Bogotá, Colombia Nicolas Bonilla is a historian with a specialization in Art History and Theory from Los Andes University (Colombia) and a Masters degree in Curatorial Studies from Essex University (U.K.). He has worked in different public institutions and has built a strong career as an artist. In 2021 he was awarded the first price in Premios Nacionales de Cultura. 45 Salón Nacional de Artes, Salón Mutis. Antioquia University, Medellín. He is interested in ceramics as a craft that constantly questions the imaginary boundaries between science and art. According to the traditional conception, the artist would be in charge of moving us with his symbolic worlds and the scientist would be in charge of deciphering the objective truth. However, both great works of art and important scientific breakthroughs are profound glimpses of reality and redefine the limits of the imagination. Ceramics is always torn between the exactitude of chemistry and physics and the subjectivity of plastic creation through experimentation. He likes to think that a ceramist is both an artist and a scientist. His work seeks to establish links between the scientific knowledge of nature and the transformative power of matter that has been handed down to us generation after generation.
NICOLAS BONILLA 1984, Bogotá, Colombia Nicolas Bonilla is a historian with a specialization in Art History and Theory from Los Andes University (Colombia) and a Masters degree in Curatorial Studies from Essex University (U.K.). He has worked in different public institutions and has built a strong career as an artist. In 2021 he was awarded the first price in Premios Nacionales de Cultura. 45 Salón Nacional de Artes, Salón Mutis. Antioquia University, Medellín. He is interested in ceramics as a craft that constantly questions the imaginary boundaries between science and art. According to the traditional conception, the artist would be in charge of moving us with his symbolic worlds and the scientist would be in charge of deciphering the objective truth. However, both great works of art and important scientific breakthroughs are profound glimpses of reality and redefine the limits of the imagination. Ceramics is always torn between the exactitude of chemistry and physics and the subjectivity of plastic creation through experimentation. He likes to think that a ceramist is both an artist and a scientist. His work seeks to establish links between the scientific knowledge of nature and the transformative power of matter that has been handed down to us generation after generation.
NICOLAS BONILLA 1984, Bogotá, Colombia Nicolas Bonilla is a historian with a specialization in Art History and Theory from Los Andes University (Colombia) and a Masters degree in Curatorial Studies from Essex University (U.K.). He has worked in different public institutions and has built a strong career as an artist. In 2021 he was awarded the first price in Premios Nacionales de Cultura. 45 Salón Nacional de Artes, Salón Mutis. Antioquia University, Medellín. He is interested in ceramics as a craft that constantly questions the imaginary boundaries between science and art. According to the traditional conception, the artist would be in charge of moving us with his symbolic worlds and the scientist would be in charge of deciphering the objective truth. However, both great works of art and important scientific breakthroughs are profound glimpses of reality and redefine the limits of the imagination. Ceramics is always torn between the exactitude of chemistry and physics and the subjectivity of plastic creation through experimentation. He likes to think that a ceramist is both an artist and a scientist. His work seeks to establish links between the scientific knowledge of nature and the transformative power of matter that has been handed down to us generation after generation.
Tahuanty Jacanamijoy is an artist graduated from the Universidad de los Andes in Bogotá (2014) and master in animation from the Royal College of Arts in London (2017). He currently works as a visual artist in Bogotá, Colombia. He is interested in the space of speculation about the meaning of the image, symbols and archetypes that inhabit our collective imaginary, and that are affected by the construction of intimate narratives construction of intimate narratives that do not cease to look at the tradition of ancestral cultures and the transcendental in art. the transcendental in art.
Tahuanty Jacanamijoy is an artist graduated from the Universidad de los Andes in Bogotá (2014) and master in animation from the Royal College of Arts in London (2017). He currently works as a visual artist in Bogotá, Colombia. He is interested in the space of speculation about the meaning of the image, symbols and archetypes that inhabit our collective imaginary, and that are affected by the construction of intimate narratives construction of intimate narratives that do not cease to look at the tradition of ancestral cultures and the transcendental in art. the transcendental in art.
Tahuanty Jacanamijoy is an artist graduated from the Universidad de los Andes in Bogotá (2014) and master in animation from the Royal College of Arts in London (2017). He currently works as a visual artist in Bogotá, Colombia. He is interested in the space of speculation about the meaning of the image, symbols and archetypes that inhabit our collective imaginary, and that are affected by the construction of intimate narratives construction of intimate narratives that do not cease to look at the tradition of ancestral cultures and the transcendental in art. the transcendental in art.
JAVIER MORALES CASAS 1993, Ibagué, Colombia Javier Morales Casas is a young Colombian painter that uses a research-creation methodology in order to develop his work. Moving between austerity and hermeticism, his paintings draw from diverse art history references such as Egyptian figuration, the Flemish Primitives or Haitian Voodoo painting. Morales’ paintings are creations of internal universes that happen in small and hot towns, where the human and non-human touch. His manner of preceding is intertwined with intuition and uncertainty, and he is constantly amazed by the impermanence of living matter.
JAVIER MORALES CASAS 1993, Ibagué, Colombia Javier Morales Casas is a young Colombian painter that uses a research-creation methodology in order to develop his work. Moving between austerity and hermeticism, his paintings draw from diverse art history references such as Egyptian figuration, the Flemish Primitives or Haitian Voodoo painting. Morales’ paintings are creations of internal universes that happen in small and hot towns, where the human and non-human touch. His manner of preceding is intertwined with intuition and uncertainty, and he is constantly amazed by the impermanence of living matter.
JAVIER MORALES CASAS 1993, Ibagué, Colombia Javier Morales Casas is a young Colombian painter that uses a research-creation methodology in order to develop his work. Moving between austerity and hermeticism, his paintings draw from diverse art history references such as Egyptian figuration, the Flemish Primitives or Haitian Voodoo painting. Morales’ paintings are creations of internal universes that happen in small and hot towns, where the human and non-human touch. His manner of preceding is intertwined with intuition and uncertainty, and he is constantly amazed by the impermanence of living matter.
Camila Barreto, 1982 studies art at the Universidad Jorge Tadeo Lozano, after living and working in Santiago de Chile for 7 years she returns to Colombia, works and lives in Sopó. As you go through her work made up of collages, paintings and serigraphs, it is possible to find again and again with stages, drawings, lines and forms that come together, as a continuum that evolves, ties times and spaces and that, according to the artist herself, become a search and affirmation of her own presence in the world.
Camila Barreto, 1982 studies art at the Universidad Jorge Tadeo Lozano, after living and working in Santiago de Chile for 7 years she returns to Colombia, works and lives in Sopó. As you go through her work made up of collages, paintings and serigraphs, it is possible to find again and again with stages, drawings, lines and forms that come together, as a continuum that evolves, ties times and spaces and that, according to the artist herself, become a search and affirmation of her own presence in the world.
Camila Barreto, 1982 studies art at the Universidad Jorge Tadeo Lozano, after living and working in Santiago de Chile for 7 years she returns to Colombia, works and lives in Sopó. As you go through her work made up of collages, paintings and serigraphs, it is possible to find again and again with stages, drawings, lines and forms that come together, as a continuum that evolves, ties times and spaces and that, according to the artist herself, become a search and affirmation of her own presence in the world.
Graduated from the Art program at Universidad de los Andes in 2012. Mariana Murcia's practice Mariana Murcia has focused on the assembly of materials and objects that allow her to experiment with conceptual forms, seeking conceptual forms, seeking the intersections between affect and capital, the aesthetic facts of capital, the aesthetic facts of consumption, and the transformation of perception through the appropriation of technologies and the through the appropriation of technologies. Since 2010 she has been part of Laagencia, an art project office based in Bogota that focuses on in Bogota that focuses on researching art and education processes. She is the founder CARNE gallery with which she has participated in exhibitions in Bogota, Los Angeles, Chicago, San Juan and Mexico City, Chicago, San Juan and Mexico City, among others. In 2017 she became part of the artists represented by artists represented by SGR Galería.
Graduated from the Art program at Universidad de los Andes in 2012. Mariana Murcia's practice Mariana Murcia has focused on the assembly of materials and objects that allow her to experiment with conceptual forms, seeking conceptual forms, seeking the intersections between affect and capital, the aesthetic facts of capital, the aesthetic facts of consumption, and the transformation of perception through the appropriation of technologies and the through the appropriation of technologies. Since 2010 she has been part of Laagencia, an art project office based in Bogota that focuses on in Bogota that focuses on researching art and education processes. She is the founder CARNE gallery with which she has participated in exhibitions in Bogota, Los Angeles, Chicago, San Juan and Mexico City, Chicago, San Juan and Mexico City, among others. In 2017 she became part of the artists represented by artists represented by SGR Galería.
Graduated from the Art program at Universidad de los Andes in 2012. Mariana Murcia's practice Mariana Murcia has focused on the assembly of materials and objects that allow her to experiment with conceptual forms, seeking conceptual forms, seeking the intersections between affect and capital, the aesthetic facts of capital, the aesthetic facts of consumption, and the transformation of perception through the appropriation of technologies and the through the appropriation of technologies. Since 2010 she has been part of Laagencia, an art project office based in Bogota that focuses on in Bogota that focuses on researching art and education processes. She is the founder CARNE gallery with which she has participated in exhibitions in Bogota, Los Angeles, Chicago, San Juan and Mexico City, Chicago, San Juan and Mexico City, among others. In 2017 she became part of the artists represented by artists represented by SGR Galería.
