A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
Espacio continuo presents the work of six artists who, with diverse strategies, have marked the events of contemporary art in Colombia. With solid research on current socio-political issues, these artists have been developing critical projects that configure images that are as beautiful as they are terrifying, understanding "the image" as a cultural construct and in its broadest sense. They are proposals that confront us with the complexity of the present and with the aesthetic possibilities of languages such as installation, video, photography, sculpture or painting. Topics such as the landscape (its splendor and its ruin), the phenomenon of violence and its transformations, the return to the ancestral to think about our time, human intimacy as a core element to understand the meaning of the social, the construction of memory and the disaster caused by capitalism, they gain presence through the works of art that Espacio continúo puts into play within the framework of the fair. The gallery then aims to consolidate a space in which viewers encounter a montage charged with poetic force, precisely because of the interaction between suggestive pieces that challenge the most contemporary debates.
Aware of the legacy of modernity, it is in our interest to explore its continuity and its direct or indirect behavior in current practices. Starting from exercises that juxtapose transversal questions, we invite the viewer to find common threads on artistic investigations that have common starting points. Whether they are of modernity or contemporary, these investigations are the answer to questions that have been manifesting in the art world for decades, until today and that the gallery presents in a moderating space.
Her work displays an emphasis in the process and develops itself around subjects such as nature and culture, memory, and the vulnerability of monuments. Each project follows its unique visual path. Her fleeting sculpture interventions and installations carried out in places that are out of reach are documented via photography and film. The origins of the materials used, along with the specific way in which they are obtained are of great importance in several of her projects, since they are the bridge that connects conceptual aspects of her works. Su obra ha recibido reconocimientos como el Premio Luis Caballero III Edición, La Beca Nacional de Creación Individual del Ministerio de Cultura 2014 y 2005, Beca en la Categoría de Patrimonio del IDCT 2006, el Primer Premio del Salón Regional de Artistas de Bogotá de 1997, se ha expuesto internacionalmente en Inglaterra, Francia, Alemania, España, La Habana, Brasil, Estados Unidos y Sídney. Su trabajo hace parte de colecciones privadas e institucionales en Colombia y en el exterior. Her worked has received mentions such as the III Edition of the Luis Caballero Prize, the Cultural Ministry of Colombia’s National Scholarship for Individual Creativity 2014 and 2015, a Scholarship in the category of Patrimony of the ICDT (National Institute of Tributary Law) 2006, and the First Prize at the Regional Artists Salon in Bogota in 1997. Her work has been shown internationally in England, France, Germany, Spain, La Habana, Cuba, Brazil, the United States, and Sydney, Australia. Her work is also a part of private and institutional collections in Colombia and abroad.
Her work displays an emphasis in the process and develops itself around subjects such as nature and culture, memory, and the vulnerability of monuments. Each project follows its unique visual path. Her fleeting sculpture interventions and installations carried out in places that are out of reach are documented via photography and film. The origins of the materials used, along with the specific way in which they are obtained are of great importance in several of her projects, since they are the bridge that connects conceptual aspects of her works. Su obra ha recibido reconocimientos como el Premio Luis Caballero III Edición, La Beca Nacional de Creación Individual del Ministerio de Cultura 2014 y 2005, Beca en la Categoría de Patrimonio del IDCT 2006, el Primer Premio del Salón Regional de Artistas de Bogotá de 1997, se ha expuesto internacionalmente en Inglaterra, Francia, Alemania, España, La Habana, Brasil, Estados Unidos y Sídney. Su trabajo hace parte de colecciones privadas e institucionales en Colombia y en el exterior. Her worked has received mentions such as the III Edition of the Luis Caballero Prize, the Cultural Ministry of Colombia’s National Scholarship for Individual Creativity 2014 and 2015, a Scholarship in the category of Patrimony of the ICDT (National Institute of Tributary Law) 2006, and the First Prize at the Regional Artists Salon in Bogota in 1997. Her work has been shown internationally in England, France, Germany, Spain, La Habana, Cuba, Brazil, the United States, and Sydney, Australia. Her work is also a part of private and institutional collections in Colombia and abroad.
Her work displays an emphasis in the process and develops itself around subjects such as nature and culture, memory, and the vulnerability of monuments. Each project follows its unique visual path. Her fleeting sculpture interventions and installations carried out in places that are out of reach are documented via photography and film. The origins of the materials used, along with the specific way in which they are obtained are of great importance in several of her projects, since they are the bridge that connects conceptual aspects of her works. Su obra ha recibido reconocimientos como el Premio Luis Caballero III Edición, La Beca Nacional de Creación Individual del Ministerio de Cultura 2014 y 2005, Beca en la Categoría de Patrimonio del IDCT 2006, el Primer Premio del Salón Regional de Artistas de Bogotá de 1997, se ha expuesto internacionalmente en Inglaterra, Francia, Alemania, España, La Habana, Brasil, Estados Unidos y Sídney. Su trabajo hace parte de colecciones privadas e institucionales en Colombia y en el exterior. Her worked has received mentions such as the III Edition of the Luis Caballero Prize, the Cultural Ministry of Colombia’s National Scholarship for Individual Creativity 2014 and 2015, a Scholarship in the category of Patrimony of the ICDT (National Institute of Tributary Law) 2006, and the First Prize at the Regional Artists Salon in Bogota in 1997. Her work has been shown internationally in England, France, Germany, Spain, La Habana, Cuba, Brazil, the United States, and Sydney, Australia. Her work is also a part of private and institutional collections in Colombia and abroad.
Colombian artist who lives and works in Bogotá, Colombia. She was born in Salamina, Caldas in 1950 and holds a Bachelor Degree in Visual Communication from Pontificia Bolivariana University, and a Fine Arts and Arts Studies Degree from The Universidad de Antioquia. She did a Master’s course in Fine Arts at Chelsea College of Arts in London and a Degree certification in Contemporary Art and Theory in the same University. She was for 27 years a professor of Graduate and Undergraduate courses at the Universidad de Antioquia and Universidad Nacional de Colombia. In the 90’s, Echeverri gave a radical turn to her career after a solid and significant work in painting and sculpture in Medellin, during the 70’s – 80’s decade and after moving to the capital Bogota, she found sound and video to be an appropriate media to confront with a critical point of view, troubled topics in the social, political, cultural and environmental arena in Colombia. Her work is framed in a rigorous process of research, field work and creation with a deep exploration that flows from the personal to the social and the political arena of her country, generating intersections between video, sound, intervened photography and installation. By employing multiple strategies of scale, technical supports, space and sound presence, her practice investigates the ways in which violence and its transmutation are present in relation to the viewer. She dedicated herself to create audio-visual installations that generated physical and psychological spaces where the spectator lives a similar experience in the conceptual frame of emotions and bodily reactions. Echeverri explores problems about loss and grief, enforced disappearance, in tension with the forces of nature that have been violated from the cultural landscape in Colombia. The multi-channel and immersive video installations invite us to understand the time of memory in its construction of history and to consider how art enters as a mediator of new sensibilities. Her work encourages those who witness her works, to strengthen a collective resistance against the abuses that surround us. In later years she has produced video-installation projects that appeared in multiple national and international events, the most outstanding of which are Treno/Waterweavers “The River in Contemporary Colombian Visual and Material Culture”, curated by José Roca and Alejandro Martín. Bard Graduate Center in New York and at Conde Duque in Madrid, during Arco Fair 2015 and The Art Museum of the Americas in Washington. At NC- Arte (2015) a non for profit space in Bogotá, she presented in Nóctulo a multichannel video installation that relies on the construction of space within a space through transparent displays and interactive sound. This work attempts to question our certainties on visibility and memory, and to raise the possibility of rethinking the reconstruction of the present. Sacrificio in the I Cartagena de Indias Biennial, and in the National Artist Salon, Medellín. Versión Libre nominated in the VI Luis Caballero award. At the exhibition called "Coordenadas, a history of the installation in Antioquia; Museum of Modern Art of Medellín. Oppening of the Video installations Supervivencias, Juegos de Herencia and Treno at Alonso Garcés Gallery, Bogotá. Juegos de Herencia (one channel) at Cosmovideografías Latinoamericanas; CENART, México, and at the Museum of Modern Art of Barranquilla. The work Frontera at the MDE11, Medellín, and Juegos de Herencia (Photography) at Fotográfica Bogotá. The interactive video installation/sound Voz resonancias de la prisión at the National Museum of Colombia and in one channel for the England’s Liverpool Biennial (No Longer Empty proyect), Treno Switzerland’s Daros-Latinamerica Museum; the Centre of Contemporary Art Znaki Czasu in Poland; the Delfina Foundation in the UK; and at the Art Museum of the National University of Colombia; Casa Íntima at the VI Havana Biennial, Cuba. The video Apetitos de Familia at the VI Bienal de Bogotá, Museum of Modern Art of Bogotá; and the VI Biennial of Havana, Cuba. With ten Colombian female colleagues, the artist took part in an international tour through France, Venezuela, Brazil, Argentina, Uruguay, and Chile, with the video installation De Doble Filo. She has participated with other colleagues, in electronic arts festivals such as the ISEA in Helsinki-Stockholm and Tallin; the Festival de Artes Electrónicas Banquete in Madrid; Ars Electronica in Austria; Artrónica in Bogotá; and Metal in London with the work Quiasma. The worth of notice, during the past fifteen years in Colombia, is her abundant output in multiple exhibits as well as her work’s presence in museums and galleries such as the Museo Nacional de Colombia, the Museo de Arte Moderno de Bogotá, and the Museo de Arte Universidad Nacional. Two books about his work is in process of editing: Colección de Arte Contemporáneo, Seguros Bolívar, (December 2016) curated by José Ignacio Roca and Alejandro Martin, will be a volume of three books with other Colombian artists José Alejandro Restrepo and Juan Fernando Herrán. The second book: La imagen ardiente, belongs to the collection “Colombian Artists” produced by the Ministry of Culture of Colombia and is dedicated to the work of Clemencia Echeverri and written by Sol Astrid Giraldo, Colombian curator, and art critic. A book on her most recent works, entitled Sin Respuesta (Unanswered), was edited in 2009. Her video installation Versión Libre was in the VI Premio Luis Caballero contest. Moreover, her work took place in 3 international-level events taking place in Colombia: The I Arts Biennal, Cartagena de Indias, the MD11 in Medellín and Fotográfica in Bogotá. Clemencia has been the recipient of awards, honorary mentions, and national and international fellowships such as those given by Yadoo, arts residency in New York, the Arts Council, London; Canada’s Daniel Langlois Foundation; and the Colombian Biennial of Arts Award. London’s Delfina Foundation is one of the outstanding international institutions that have supported her. In Colombia, she has received research-creation fellowships from the Ministerio de Cultura, the Universidad Nacional de Colombia, and the Instituto Distrital de Cultura de Bogotá. Clemencia Echeverri's work is part of the Musee les Abattoirs collections, Toulouse, France. Hishrom Museum, Texas, Daros – Latinamerica. The Central Bank of Colombia, Bogotá, Colombia. MOLAA, Museum of Latin American Art of Los Angeles. MEIAC Museum, Spain. Latin American Art Collection in Essex, England. University Museum of Contemporary Art (MUAC), Mexico. Gilberto Alzate Avendaño Foundation, Bogotá. Museum of Art, National University of Colombia, Bogotá. National Museum of Colombia, Bogotá.
Colombian artist who lives and works in Bogotá, Colombia. She was born in Salamina, Caldas in 1950 and holds a Bachelor Degree in Visual Communication from Pontificia Bolivariana University, and a Fine Arts and Arts Studies Degree from The Universidad de Antioquia. She did a Master’s course in Fine Arts at Chelsea College of Arts in London and a Degree certification in Contemporary Art and Theory in the same University. She was for 27 years a professor of Graduate and Undergraduate courses at the Universidad de Antioquia and Universidad Nacional de Colombia. In the 90’s, Echeverri gave a radical turn to her career after a solid and significant work in painting and sculpture in Medellin, during the 70’s – 80’s decade and after moving to the capital Bogota, she found sound and video to be an appropriate media to confront with a critical point of view, troubled topics in the social, political, cultural and environmental arena in Colombia. Her work is framed in a rigorous process of research, field work and creation with a deep exploration that flows from the personal to the social and the political arena of her country, generating intersections between video, sound, intervened photography and installation. By employing multiple strategies of scale, technical supports, space and sound presence, her practice investigates the ways in which violence and its transmutation are present in relation to the viewer. She dedicated herself to create audio-visual installations that generated physical and psychological spaces where the spectator lives a similar experience in the conceptual frame of emotions and bodily reactions. Echeverri explores problems about loss and grief, enforced disappearance, in tension with the forces of nature that have been violated from the cultural landscape in Colombia. The multi-channel and immersive video installations invite us to understand the time of memory in its construction of history and to consider how art enters as a mediator of new sensibilities. Her work encourages those who witness her works, to strengthen a collective resistance against the abuses that surround us. In later years she has produced video-installation projects that appeared in multiple national and international events, the most outstanding of which are Treno/Waterweavers “The River in Contemporary Colombian Visual and Material Culture”, curated by José Roca and Alejandro Martín. Bard Graduate Center in New York and at Conde Duque in Madrid, during Arco Fair 2015 and The Art Museum of the Americas in Washington. At NC- Arte (2015) a non for profit space in Bogotá, she presented in Nóctulo a multichannel video installation that relies on the construction of space within a space through transparent displays and interactive sound. This work attempts to question our certainties on visibility and memory, and to raise the possibility of rethinking the reconstruction of the present. Sacrificio in the I Cartagena de Indias Biennial, and in the National Artist Salon, Medellín. Versión Libre nominated in the VI Luis Caballero award. At the exhibition called "Coordenadas, a history of the installation in Antioquia; Museum of Modern Art of Medellín. Oppening of the Video installations Supervivencias, Juegos de Herencia and Treno at Alonso Garcés Gallery, Bogotá. Juegos de Herencia (one channel) at Cosmovideografías Latinoamericanas; CENART, México, and at the Museum of Modern Art of Barranquilla. The work Frontera at the MDE11, Medellín, and Juegos de Herencia (Photography) at Fotográfica Bogotá. The interactive video installation/sound Voz resonancias de la prisión at the National Museum of Colombia and in one channel for the England’s Liverpool Biennial (No Longer Empty proyect), Treno Switzerland’s Daros-Latinamerica Museum; the Centre of Contemporary Art Znaki Czasu in Poland; the Delfina Foundation in the UK; and at the Art Museum of the National University of Colombia; Casa Íntima at the VI Havana Biennial, Cuba. The video Apetitos de Familia at the VI Bienal de Bogotá, Museum of Modern Art of Bogotá; and the VI Biennial of Havana, Cuba. With ten Colombian female colleagues, the artist took part in an international tour through France, Venezuela, Brazil, Argentina, Uruguay, and Chile, with the video installation De Doble Filo. She has participated with other colleagues, in electronic arts festivals such as the ISEA in Helsinki-Stockholm and Tallin; the Festival de Artes Electrónicas Banquete in Madrid; Ars Electronica in Austria; Artrónica in Bogotá; and Metal in London with the work Quiasma. The worth of notice, during the past fifteen years in Colombia, is her abundant output in multiple exhibits as well as her work’s presence in museums and galleries such as the Museo Nacional de Colombia, the Museo de Arte Moderno de Bogotá, and the Museo de Arte Universidad Nacional. Two books about his work is in process of editing: Colección de Arte Contemporáneo, Seguros Bolívar, (December 2016) curated by José Ignacio Roca and Alejandro Martin, will be a volume of three books with other Colombian artists José Alejandro Restrepo and Juan Fernando Herrán. The second book: La imagen ardiente, belongs to the collection “Colombian Artists” produced by the Ministry of Culture of Colombia and is dedicated to the work of Clemencia Echeverri and written by Sol Astrid Giraldo, Colombian curator, and art critic. A book on her most recent works, entitled Sin Respuesta (Unanswered), was edited in 2009. Her video installation Versión Libre was in the VI Premio Luis Caballero contest. Moreover, her work took place in 3 international-level events taking place in Colombia: The I Arts Biennal, Cartagena de Indias, the MD11 in Medellín and Fotográfica in Bogotá. Clemencia has been the recipient of awards, honorary mentions, and national and international fellowships such as those given by Yadoo, arts residency in New York, the Arts Council, London; Canada’s Daniel Langlois Foundation; and the Colombian Biennial of Arts Award. London’s Delfina Foundation is one of the outstanding international institutions that have supported her. In Colombia, she has received research-creation fellowships from the Ministerio de Cultura, the Universidad Nacional de Colombia, and the Instituto Distrital de Cultura de Bogotá. Clemencia Echeverri's work is part of the Musee les Abattoirs collections, Toulouse, France. Hishrom Museum, Texas, Daros – Latinamerica. The Central Bank of Colombia, Bogotá, Colombia. MOLAA, Museum of Latin American Art of Los Angeles. MEIAC Museum, Spain. Latin American Art Collection in Essex, England. University Museum of Contemporary Art (MUAC), Mexico. Gilberto Alzate Avendaño Foundation, Bogotá. Museum of Art, National University of Colombia, Bogotá. National Museum of Colombia, Bogotá.
Colombian artist who lives and works in Bogotá, Colombia. She was born in Salamina, Caldas in 1950 and holds a Bachelor Degree in Visual Communication from Pontificia Bolivariana University, and a Fine Arts and Arts Studies Degree from The Universidad de Antioquia. She did a Master’s course in Fine Arts at Chelsea College of Arts in London and a Degree certification in Contemporary Art and Theory in the same University. She was for 27 years a professor of Graduate and Undergraduate courses at the Universidad de Antioquia and Universidad Nacional de Colombia. In the 90’s, Echeverri gave a radical turn to her career after a solid and significant work in painting and sculpture in Medellin, during the 70’s – 80’s decade and after moving to the capital Bogota, she found sound and video to be an appropriate media to confront with a critical point of view, troubled topics in the social, political, cultural and environmental arena in Colombia. Her work is framed in a rigorous process of research, field work and creation with a deep exploration that flows from the personal to the social and the political arena of her country, generating intersections between video, sound, intervened photography and installation. By employing multiple strategies of scale, technical supports, space and sound presence, her practice investigates the ways in which violence and its transmutation are present in relation to the viewer. She dedicated herself to create audio-visual installations that generated physical and psychological spaces where the spectator lives a similar experience in the conceptual frame of emotions and bodily reactions. Echeverri explores problems about loss and grief, enforced disappearance, in tension with the forces of nature that have been violated from the cultural landscape in Colombia. The multi-channel and immersive video installations invite us to understand the time of memory in its construction of history and to consider how art enters as a mediator of new sensibilities. Her work encourages those who witness her works, to strengthen a collective resistance against the abuses that surround us. In later years she has produced video-installation projects that appeared in multiple national and international events, the most outstanding of which are Treno/Waterweavers “The River in Contemporary Colombian Visual and Material Culture”, curated by José Roca and Alejandro Martín. Bard Graduate Center in New York and at Conde Duque in Madrid, during Arco Fair 2015 and The Art Museum of the Americas in Washington. At NC- Arte (2015) a non for profit space in Bogotá, she presented in Nóctulo a multichannel video installation that relies on the construction of space within a space through transparent displays and interactive sound. This work attempts to question our certainties on visibility and memory, and to raise the possibility of rethinking the reconstruction of the present. Sacrificio in the I Cartagena de Indias Biennial, and in the National Artist Salon, Medellín. Versión Libre nominated in the VI Luis Caballero award. At the exhibition called "Coordenadas, a history of the installation in Antioquia; Museum of Modern Art of Medellín. Oppening of the Video installations Supervivencias, Juegos de Herencia and Treno at Alonso Garcés Gallery, Bogotá. Juegos de Herencia (one channel) at Cosmovideografías Latinoamericanas; CENART, México, and at the Museum of Modern Art of Barranquilla. The work Frontera at the MDE11, Medellín, and Juegos de Herencia (Photography) at Fotográfica Bogotá. The interactive video installation/sound Voz resonancias de la prisión at the National Museum of Colombia and in one channel for the England’s Liverpool Biennial (No Longer Empty proyect), Treno Switzerland’s Daros-Latinamerica Museum; the Centre of Contemporary Art Znaki Czasu in Poland; the Delfina Foundation in the UK; and at the Art Museum of the National University of Colombia; Casa Íntima at the VI Havana Biennial, Cuba. The video Apetitos de Familia at the VI Bienal de Bogotá, Museum of Modern Art of Bogotá; and the VI Biennial of Havana, Cuba. With ten Colombian female colleagues, the artist took part in an international tour through France, Venezuela, Brazil, Argentina, Uruguay, and Chile, with the video installation De Doble Filo. She has participated with other colleagues, in electronic arts festivals such as the ISEA in Helsinki-Stockholm and Tallin; the Festival de Artes Electrónicas Banquete in Madrid; Ars Electronica in Austria; Artrónica in Bogotá; and Metal in London with the work Quiasma. The worth of notice, during the past fifteen years in Colombia, is her abundant output in multiple exhibits as well as her work’s presence in museums and galleries such as the Museo Nacional de Colombia, the Museo de Arte Moderno de Bogotá, and the Museo de Arte Universidad Nacional. Two books about his work is in process of editing: Colección de Arte Contemporáneo, Seguros Bolívar, (December 2016) curated by José Ignacio Roca and Alejandro Martin, will be a volume of three books with other Colombian artists José Alejandro Restrepo and Juan Fernando Herrán. The second book: La imagen ardiente, belongs to the collection “Colombian Artists” produced by the Ministry of Culture of Colombia and is dedicated to the work of Clemencia Echeverri and written by Sol Astrid Giraldo, Colombian curator, and art critic. A book on her most recent works, entitled Sin Respuesta (Unanswered), was edited in 2009. Her video installation Versión Libre was in the VI Premio Luis Caballero contest. Moreover, her work took place in 3 international-level events taking place in Colombia: The I Arts Biennal, Cartagena de Indias, the MD11 in Medellín and Fotográfica in Bogotá. Clemencia has been the recipient of awards, honorary mentions, and national and international fellowships such as those given by Yadoo, arts residency in New York, the Arts Council, London; Canada’s Daniel Langlois Foundation; and the Colombian Biennial of Arts Award. London’s Delfina Foundation is one of the outstanding international institutions that have supported her. In Colombia, she has received research-creation fellowships from the Ministerio de Cultura, the Universidad Nacional de Colombia, and the Instituto Distrital de Cultura de Bogotá. Clemencia Echeverri's work is part of the Musee les Abattoirs collections, Toulouse, France. Hishrom Museum, Texas, Daros – Latinamerica. The Central Bank of Colombia, Bogotá, Colombia. MOLAA, Museum of Latin American Art of Los Angeles. MEIAC Museum, Spain. Latin American Art Collection in Essex, England. University Museum of Contemporary Art (MUAC), Mexico. Gilberto Alzate Avendaño Foundation, Bogotá. Museum of Art, National University of Colombia, Bogotá. National Museum of Colombia, Bogotá.
School of Fine Arts alumni (2004) with a Masters in Fine and Visual Arts (2010) from the National University of Colombia, Laserna’s work is comprised of a varied group of strategies that combine mediums and artistic operations, usually laid out upon the visual critique and the analysis of media devices. In 2018 he won the IX Luis Caballero Prize with his project SET, is a university professor, and a member of the Maski collective with whom he carries out research and creative projects since 2005. He has been awarded the Outstanding Postgraduate Student Scholarship by the academic vicerectory of the National University of Colombia, and the Culture Ministry of Colombia's creative scholarship (2015). His work is a part of collections such as The Museum of Antioquia, Barranquilla's Museum of Modern Art (MAMB), Miguel Urrutia Museum of Art (MAMU), Pereira's Museum of Art, and the Bogotá Museum. His projects have also been shown continuously since 2008, mainly in institutions and independent spaces in cities such as Bogotá, Cali, and Medellín.
School of Fine Arts alumni (2004) with a Masters in Fine and Visual Arts (2010) from the National University of Colombia, Laserna’s work is comprised of a varied group of strategies that combine mediums and artistic operations, usually laid out upon the visual critique and the analysis of media devices. In 2018 he won the IX Luis Caballero Prize with his project SET, is a university professor, and a member of the Maski collective with whom he carries out research and creative projects since 2005. He has been awarded the Outstanding Postgraduate Student Scholarship by the academic vicerectory of the National University of Colombia, and the Culture Ministry of Colombia's creative scholarship (2015). His work is a part of collections such as The Museum of Antioquia, Barranquilla's Museum of Modern Art (MAMB), Miguel Urrutia Museum of Art (MAMU), Pereira's Museum of Art, and the Bogotá Museum. His projects have also been shown continuously since 2008, mainly in institutions and independent spaces in cities such as Bogotá, Cali, and Medellín.
School of Fine Arts alumni (2004) with a Masters in Fine and Visual Arts (2010) from the National University of Colombia, Laserna’s work is comprised of a varied group of strategies that combine mediums and artistic operations, usually laid out upon the visual critique and the analysis of media devices. In 2018 he won the IX Luis Caballero Prize with his project SET, is a university professor, and a member of the Maski collective with whom he carries out research and creative projects since 2005. He has been awarded the Outstanding Postgraduate Student Scholarship by the academic vicerectory of the National University of Colombia, and the Culture Ministry of Colombia's creative scholarship (2015). His work is a part of collections such as The Museum of Antioquia, Barranquilla's Museum of Modern Art (MAMB), Miguel Urrutia Museum of Art (MAMU), Pereira's Museum of Art, and the Bogotá Museum. His projects have also been shown continuously since 2008, mainly in institutions and independent spaces in cities such as Bogotá, Cali, and Medellín.
Chilean fine artist and audiovisual creator and professor at Universidad Nacional de Colombia. Today, his work is oriented towards the possible relationship between the performative and the audiovisual. His interdisciplinary approach has taken him to propose “de-generate” aesthetic and fluctuating products between content and medium, between traditional and experimental narratives, that situate their configuration places more towards the creative conduct than in traditionally disciplinary abilities, resorting to a possible subversion of particularities and limits of artistic languages. He carries out actions of resistance and micropolitical gestures that unveil his position and critical point of view towards the contemporary world. He has participated in important events such as: the 52nd International Biennial of Art in Venice, the Havana Biennial, and the Mercosur Biennial. He won the Latin American Art Prize at the Museum of Modern Art of Los Angeles, has participated for several years in the Rencontres Internationales Paris / Berlin / Madrid at the Pompidou Center, at the Beaux Arts of Paris, and at the Reina Sofía Museum in Madrid. His work has been shown in group and solo exhibitions locally and abroad. The premier of his documentary feature dedicated to the state of the Saharaui people titled “Bitter as life' at the Intermedia space of the Matadero Cultural Center in Madrid particularly stands out. He has been nominated for creation scholarships and awards, among them: the nomination to the Guggenheim Scholarship by Paulo Bruscky in 2000 and the nomination to the Luis Caballero Prize in 2008. His solo show “Runaway Territory,” opening March 2008 at the gallery Gabriela Mistral in Santiago also stands out. Among other important awards, he has received the First Prize for the 36th Colombian National Salon of Artists, the Luis Caballero Prize in 2010, the First Prize at the Young Art Salon, First Prize at the I Salon of Two-dimensional Art, First Prize at the British American Tobacco Kent Explores Salon, along with countless other mentions and acknowledgments.
Chilean fine artist and audiovisual creator and professor at Universidad Nacional de Colombia. Today, his work is oriented towards the possible relationship between the performative and the audiovisual. His interdisciplinary approach has taken him to propose “de-generate” aesthetic and fluctuating products between content and medium, between traditional and experimental narratives, that situate their configuration places more towards the creative conduct than in traditionally disciplinary abilities, resorting to a possible subversion of particularities and limits of artistic languages. He carries out actions of resistance and micropolitical gestures that unveil his position and critical point of view towards the contemporary world. He has participated in important events such as: the 52nd International Biennial of Art in Venice, the Havana Biennial, and the Mercosur Biennial. He won the Latin American Art Prize at the Museum of Modern Art of Los Angeles, has participated for several years in the Rencontres Internationales Paris / Berlin / Madrid at the Pompidou Center, at the Beaux Arts of Paris, and at the Reina Sofía Museum in Madrid. His work has been shown in group and solo exhibitions locally and abroad. The premier of his documentary feature dedicated to the state of the Saharaui people titled “Bitter as life' at the Intermedia space of the Matadero Cultural Center in Madrid particularly stands out. He has been nominated for creation scholarships and awards, among them: the nomination to the Guggenheim Scholarship by Paulo Bruscky in 2000 and the nomination to the Luis Caballero Prize in 2008. His solo show “Runaway Territory,” opening March 2008 at the gallery Gabriela Mistral in Santiago also stands out. Among other important awards, he has received the First Prize for the 36th Colombian National Salon of Artists, the Luis Caballero Prize in 2010, the First Prize at the Young Art Salon, First Prize at the I Salon of Two-dimensional Art, First Prize at the British American Tobacco Kent Explores Salon, along with countless other mentions and acknowledgments.
Chilean fine artist and audiovisual creator and professor at Universidad Nacional de Colombia. Today, his work is oriented towards the possible relationship between the performative and the audiovisual. His interdisciplinary approach has taken him to propose “de-generate” aesthetic and fluctuating products between content and medium, between traditional and experimental narratives, that situate their configuration places more towards the creative conduct than in traditionally disciplinary abilities, resorting to a possible subversion of particularities and limits of artistic languages. He carries out actions of resistance and micropolitical gestures that unveil his position and critical point of view towards the contemporary world. He has participated in important events such as: the 52nd International Biennial of Art in Venice, the Havana Biennial, and the Mercosur Biennial. He won the Latin American Art Prize at the Museum of Modern Art of Los Angeles, has participated for several years in the Rencontres Internationales Paris / Berlin / Madrid at the Pompidou Center, at the Beaux Arts of Paris, and at the Reina Sofía Museum in Madrid. His work has been shown in group and solo exhibitions locally and abroad. The premier of his documentary feature dedicated to the state of the Saharaui people titled “Bitter as life' at the Intermedia space of the Matadero Cultural Center in Madrid particularly stands out. He has been nominated for creation scholarships and awards, among them: the nomination to the Guggenheim Scholarship by Paulo Bruscky in 2000 and the nomination to the Luis Caballero Prize in 2008. His solo show “Runaway Territory,” opening March 2008 at the gallery Gabriela Mistral in Santiago also stands out. Among other important awards, he has received the First Prize for the 36th Colombian National Salon of Artists, the Luis Caballero Prize in 2010, the First Prize at the Young Art Salon, First Prize at the I Salon of Two-dimensional Art, First Prize at the British American Tobacco Kent Explores Salon, along with countless other mentions and acknowledgments.
Colombian artist and researcher, currently living in Mexico City. Her most recent projects are established between artistic practices and research, circulating between diverse knowledge and dismantling the limits between the living and the inanimate. She has exhibited her projects at the Passerelle Contemporary Art Center (France), the Kunstmuseum Heidenheim (Germany), the CA2M (Spain), Havremagasinet (Sweden), the Pratt Institute (USA), the Muca Roma (Mexico City) and the Museo del Barrio (USA). She has been invited to the New Media Triennial (Beijing, 2014), the California and the Pacific Triennial (California, 2013) and the National Artists Salon (Medellín, 2013), among other artistic events. She has been a scholarship fellow at artist residencies such as Grand Central Art Center (USA), Akiyoshidai International Art Village (Japan), Nordic Artists ’Center (Norway) and the Royal Hibernian Academy (Ireland). Her works are part of the collection of MARCO (Mexico), UCR ArtsBlock (California) and Banco de la República (Colombia). Graduated in Plastic Arts from the Jorge Tadeo Lozano University in Bogotá, Master in Philosophy from the Javeriana University of the same city and a PhD in Art and Design from the National Autonomous University of Mexico (UNAM). Adriana has also been a teacher in the Visual Arts program at the Javeriana University and in the Plastic Arts program at the Jorge Tadeo Lozano University in Bogotá. She has contributed as an author with magazines such as Islario (Mexico), Errata# (Colombia) and OAR (University of Oxford). She recently published the book "Enciclopedia de cosas vivas y muertas: el lago de Texcoco" under the Pitzilein Books publishing house of Mexico City, with the support of the Jumex Foundation and the Ministry of Culture of Colombia.
Colombian artist and researcher, currently living in Mexico City. Her most recent projects are established between artistic practices and research, circulating between diverse knowledge and dismantling the limits between the living and the inanimate. She has exhibited her projects at the Passerelle Contemporary Art Center (France), the Kunstmuseum Heidenheim (Germany), the CA2M (Spain), Havremagasinet (Sweden), the Pratt Institute (USA), the Muca Roma (Mexico City) and the Museo del Barrio (USA). She has been invited to the New Media Triennial (Beijing, 2014), the California and the Pacific Triennial (California, 2013) and the National Artists Salon (Medellín, 2013), among other artistic events. She has been a scholarship fellow at artist residencies such as Grand Central Art Center (USA), Akiyoshidai International Art Village (Japan), Nordic Artists ’Center (Norway) and the Royal Hibernian Academy (Ireland). Her works are part of the collection of MARCO (Mexico), UCR ArtsBlock (California) and Banco de la República (Colombia). Graduated in Plastic Arts from the Jorge Tadeo Lozano University in Bogotá, Master in Philosophy from the Javeriana University of the same city and a PhD in Art and Design from the National Autonomous University of Mexico (UNAM). Adriana has also been a teacher in the Visual Arts program at the Javeriana University and in the Plastic Arts program at the Jorge Tadeo Lozano University in Bogotá. She has contributed as an author with magazines such as Islario (Mexico), Errata# (Colombia) and OAR (University of Oxford). She recently published the book "Enciclopedia de cosas vivas y muertas: el lago de Texcoco" under the Pitzilein Books publishing house of Mexico City, with the support of the Jumex Foundation and the Ministry of Culture of Colombia.
Colombian artist and researcher, currently living in Mexico City. Her most recent projects are established between artistic practices and research, circulating between diverse knowledge and dismantling the limits between the living and the inanimate. She has exhibited her projects at the Passerelle Contemporary Art Center (France), the Kunstmuseum Heidenheim (Germany), the CA2M (Spain), Havremagasinet (Sweden), the Pratt Institute (USA), the Muca Roma (Mexico City) and the Museo del Barrio (USA). She has been invited to the New Media Triennial (Beijing, 2014), the California and the Pacific Triennial (California, 2013) and the National Artists Salon (Medellín, 2013), among other artistic events. She has been a scholarship fellow at artist residencies such as Grand Central Art Center (USA), Akiyoshidai International Art Village (Japan), Nordic Artists ’Center (Norway) and the Royal Hibernian Academy (Ireland). Her works are part of the collection of MARCO (Mexico), UCR ArtsBlock (California) and Banco de la República (Colombia). Graduated in Plastic Arts from the Jorge Tadeo Lozano University in Bogotá, Master in Philosophy from the Javeriana University of the same city and a PhD in Art and Design from the National Autonomous University of Mexico (UNAM). Adriana has also been a teacher in the Visual Arts program at the Javeriana University and in the Plastic Arts program at the Jorge Tadeo Lozano University in Bogotá. She has contributed as an author with magazines such as Islario (Mexico), Errata# (Colombia) and OAR (University of Oxford). She recently published the book "Enciclopedia de cosas vivas y muertas: el lago de Texcoco" under the Pitzilein Books publishing house of Mexico City, with the support of the Jumex Foundation and the Ministry of Culture of Colombia.
