A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
We look for Sextante Gallery Stand at ARTBO be an international extension of the spaces of the Gallery. By taking one of the large stands, we seek to present a complete and consistent sample with recent works by the gallery's artists. They are important and large-format works that require ample space. We want the exhibition proposal to allow the public to understand and appreciate the work of our artists. The common thread between them is the TERRITORY.
Sextante Gallery founded in 1981 by María Eugenia Niño and Luis Ángel Parra, regularly accompanies and exhibits the work of a select group of contemporary Latin American artists- career artists and young artists-. The Gallery as an analytical space that allows the public to perceive, think and deepen their proposals and artistic projects. -Young artists: Alejandro Casazi, Lucia Morón, Santiago Parra, Angélica Zorrilla, / Trajectory artists; Fernando Cruz, Ricardo Benaim, Juan Manuel Echavarría, Luis Fernando Peláez, Teresa Pereda, Jorge Sarsale, Hugo Zapata-, In its headquarters in Bogotá, two old houses next to disappeared Lake Gaitan, it has: two thematic exhibition rooms, three permanent exhibition rooms, projection room, artist's book room, graphic work room, the workshops of the Taller Arte Dos Gráfico Engraving, woodcut, silkscreen, lithography, offset, digital photography, photography of old techniques, typography, bookbinding and marquetry. It has a documentation center, libraries specialized in art, poetry, literature, geography, history and politics of Latin American countries for the use off artists in their artist-in-residence program. Taller Arte Dos Gráfico, founded in 1977 has been the space chosen for the realization of a hundred works of national and international artists. Artists such as León Ferrari, Beatriz González, Álvaro Barrios, Antonio Samudio, Juan Lecuona, Ana Mercedes Hoyos, Gustavo Zalamea, Antonio Seguí, Fernando de Szyszlo, Ricardo Benaim, Antonio Caro, Samy Benmayor, among many others, have become friends of the house and they have come back again and again.
Santiago Parra was born in Bogotá, Colombia in 1986. He studied Literature at Universidad Nacional de Colombia, followed by an art education at Universidad de los Andes, Bogotá and later at the Academy of Art University to study Fine Arts in San Francisco where he also learnt about Motion Pictures and Television. Parra is known for his large, abstract and highly expressive black and white paintings. His canvases capture the suspended flatness of the calligraphy-like imagery, harmonizing two seemingly incompatible aesthetic moments, spontaneity and pondering, which are all shaped by movement, strength, gravity and skill of the Columbian artist’s creative process. He explores the expressive possibilities of the quintessential abstract form. With an audacious manner he redefines abstract structures with bold sculptural brushstrokes. His work is both an aesthetic exploration and a questioning of the essence of abstract image making.
Santiago Parra was born in Bogotá, Colombia in 1986. He studied Literature at Universidad Nacional de Colombia, followed by an art education at Universidad de los Andes, Bogotá and later at the Academy of Art University to study Fine Arts in San Francisco where he also learnt about Motion Pictures and Television. Parra is known for his large, abstract and highly expressive black and white paintings. His canvases capture the suspended flatness of the calligraphy-like imagery, harmonizing two seemingly incompatible aesthetic moments, spontaneity and pondering, which are all shaped by movement, strength, gravity and skill of the Columbian artist’s creative process. He explores the expressive possibilities of the quintessential abstract form. With an audacious manner he redefines abstract structures with bold sculptural brushstrokes. His work is both an aesthetic exploration and a questioning of the essence of abstract image making.
Santiago Parra was born in Bogotá, Colombia in 1986. He studied Literature at Universidad Nacional de Colombia, followed by an art education at Universidad de los Andes, Bogotá and later at the Academy of Art University to study Fine Arts in San Francisco where he also learnt about Motion Pictures and Television. Parra is known for his large, abstract and highly expressive black and white paintings. His canvases capture the suspended flatness of the calligraphy-like imagery, harmonizing two seemingly incompatible aesthetic moments, spontaneity and pondering, which are all shaped by movement, strength, gravity and skill of the Columbian artist’s creative process. He explores the expressive possibilities of the quintessential abstract form. With an audacious manner he redefines abstract structures with bold sculptural brushstrokes. His work is both an aesthetic exploration and a questioning of the essence of abstract image making.
On March 11, 2010, I was invited to the old town of Mampuján, in the district of Los Montes de María, Bolívar, Colombia. The community commemorated the 10th anniversary of their displacement by the paramilitary group “Heroes de los Montes de María” (Heroes of Los Montes de María). In the abandoned Rural School of Mampuján, which had no roof and a floor covered with vegetation, I found a blackboard in one of the classrooms, and on the wall next to it, vowels were drawn. The calligraphy and colors of the letters caught my attention. They seemed to be fleeing from the blackboard: the a, e, i, o, u were legible despite the damp and the abandonment…the “o” was vanishing. In a second classroom, I saw a blackboard hidden in the thick vegetation, faded and in very bad condition. I hesitated to photograph it. A few days later, while inspecting the image, I discovered that in that silent blackboard an almost invisible sentence appeared: “Lo bonito es estar vivo” (The beautiful thing is to be alive). Those blackboards, in the old town of Mampuján, encouraged me to seek other schools in Los Montes de María, other memories that could be found before fading forever, like that “o” in the school of Mampuján. For over seven years, I, with Fernando Grisalez, have found more than 100 schools that have been abandoned because of Colombia’s ongoing war. We have photographed more than 200 blackboards. The Silencios series also includes the school of Bella Vista in Bojayá, and other schools in Chocó and Caquetá. The project continues… —JME
On March 11, 2010, I was invited to the old town of Mampuján, in the district of Los Montes de María, Bolívar, Colombia. The community commemorated the 10th anniversary of their displacement by the paramilitary group “Heroes de los Montes de María” (Heroes of Los Montes de María). In the abandoned Rural School of Mampuján, which had no roof and a floor covered with vegetation, I found a blackboard in one of the classrooms, and on the wall next to it, vowels were drawn. The calligraphy and colors of the letters caught my attention. They seemed to be fleeing from the blackboard: the a, e, i, o, u were legible despite the damp and the abandonment…the “o” was vanishing. In a second classroom, I saw a blackboard hidden in the thick vegetation, faded and in very bad condition. I hesitated to photograph it. A few days later, while inspecting the image, I discovered that in that silent blackboard an almost invisible sentence appeared: “Lo bonito es estar vivo” (The beautiful thing is to be alive). Those blackboards, in the old town of Mampuján, encouraged me to seek other schools in Los Montes de María, other memories that could be found before fading forever, like that “o” in the school of Mampuján. For over seven years, I, with Fernando Grisalez, have found more than 100 schools that have been abandoned because of Colombia’s ongoing war. We have photographed more than 200 blackboards. The Silencios series also includes the school of Bella Vista in Bojayá, and other schools in Chocó and Caquetá. The project continues… —JME
On March 11, 2010, I was invited to the old town of Mampuján, in the district of Los Montes de María, Bolívar, Colombia. The community commemorated the 10th anniversary of their displacement by the paramilitary group “Heroes de los Montes de María” (Heroes of Los Montes de María). In the abandoned Rural School of Mampuján, which had no roof and a floor covered with vegetation, I found a blackboard in one of the classrooms, and on the wall next to it, vowels were drawn. The calligraphy and colors of the letters caught my attention. They seemed to be fleeing from the blackboard: the a, e, i, o, u were legible despite the damp and the abandonment…the “o” was vanishing. In a second classroom, I saw a blackboard hidden in the thick vegetation, faded and in very bad condition. I hesitated to photograph it. A few days later, while inspecting the image, I discovered that in that silent blackboard an almost invisible sentence appeared: “Lo bonito es estar vivo” (The beautiful thing is to be alive). Those blackboards, in the old town of Mampuján, encouraged me to seek other schools in Los Montes de María, other memories that could be found before fading forever, like that “o” in the school of Mampuján. For over seven years, I, with Fernando Grisalez, have found more than 100 schools that have been abandoned because of Colombia’s ongoing war. We have photographed more than 200 blackboards. The Silencios series also includes the school of Bella Vista in Bojayá, and other schools in Chocó and Caquetá. The project continues… —JME
