Curatorship: Third Nature

In its previous editions, Referentes provided a retrospective look at certain aspects of Colombian art and its relationship with the rest of the world from a historicist perspective, emphasizing archival rescue. However, this edition proposes a view beyond "history," where the earthy and the vegetal serve as parameters to investigate the intersections between humans and nature in the works of artists who question, through their practices, the notions of geography, botany, anthropology, and history. While this edition of Referentes does not review a specific chapter of Colombian art, it does identify a network of artists and institutions that, over the past forty years, have been contemplating the interconnections between humans, the plant world, and the animal world.

In this sense, this edition of Referentes is somewhat delimited within the context of projects that emerged in Colombia over the past decade. These projects not only recovered and recontextualized works by Colombian artists working in this direction, notably since the 1970s, but also organized programs, some of which are ongoing, exploring the various possibilities of the relationship between nature and culture. Two projects initiated in 2012 are particularly important in this regard: Flora Ars + Natura, a project conceived and carried out until a few years ago by José Roca and Adriana Hurtado, along with a group of collaborators; and the Selva Cosmopolítica program at the Museum of Art of the National University of Colombia, led by María Belén Sáez de Ibarra in collaboration with various artists, including Ursula Biemann, Paulo Tavares, and Miguel Ángel Rojas, as well as communities from the Inga People with whom they are developing an indigenous university project.

These initiatives have placed Colombia at the forefront of the intersections between art and ecological thought in the region. They have, in a way, pioneered an ecological turn in Colombian art, where other epistemologies, especially those of indigenous peoples, are setting the pace for a reorganization of cultural and artistic thinking toward a cosmopolitical vision that includes other forms of life and, above all, a consideration of the natural world as an entity endowed with agency, breaking away from the Western view of nature as a passive landscape and a field for extraction. Several of the works and artists featured in Referentes have been involved in both the Flora Ars + Natura and the Selva Cosmopolítica programs at the Museum of Art of the National University, through their exhibitions, publications, and public programming. This includes works by artists such as José Alejandro Restrepo's "Musa Paradisíaca" and Jonier Marin's "Amazonia Report," which were reinterpreted in the context of "Flora" several decades after their production. Works by Carolina Caycedo, Abel Rodríguez, Miguel Ángel Rojas, Clemencia Echeverri, and Sheroanawe Hakihiiwe have had a strong presence in various exhibitions organized within the framework of the Selva Cosmopolítica program.

Read more

Curator: Julieta González

Julieta González




Curator and researcher, Julieta González works at the intersection of anthropology, cybernetics, architecture, ecology, the built environment, and visual arts. She has held curator positions at Tate Modern, Museo Tamayo, Museo de Arte de San Pablo (MASP), Bronx Museum, Museo de Bellas Artes de Caracas, and served as the artistic director at Inhotim in Brazil. She has organized and co-organized over 60 exhibitions, including solo shows of artists like Juan Downey, Jaime Davidovich, Franz Erhard Walther, Stephen Willats, Rita McBride, Jac Leirner, Gego, Lina Bo Bardi, Francisco Brennand, and Abdias Nascimento. She has also curated several research-based group exhibitions, including "Memorias del subdesarrollo," which explored the early examples of decolonial aesthetics in Latin America.

González has published numerous essays in exhibition catalogs and periodicals such as Afterall, Flash Art, and Parkett. She holds a master's degree in Cultural Studies and Critical Theory from Goldsmiths, University of London (2013) and was a Helena Rubinstein Curatorial Fellow in the Whitney Museum Independent Study Program (1997-1998). She studied architecture in Caracas and Paris between 1986 and 1993.


Español Link