April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
When you think about what is enduring, the question arises why it is what must last. What are the conditions for an event, a person, a story, an idea, a culture to be enduring? What is worthy of being immortalized and how is it immortalized? These ideas are at the base of the research and artistic production of Jorge Marín, in which he questions hegemonic historical legacies and highlights the absurdity of the assimilation of foreign legacies in the consolidation and construction of a sovereign state. These serve to demonstrate the failure of such totalizing gestures.
'Gestos de gestas' is a project in which Marín has been studying forms of pictorial and sculptural representation -based on European canons- of heroes and notables of the 19th and early 20th centuries. From the detailed study of these iconographies, the artist uses fragmentation, disappearance, fire, glazes, studs, silhouettes, which, in the artist's words, become plastic strategies that seek to find languages and media. that address the partial or total loss of aura in these elements of national representation. The literary resource has also became part of his aesthetic proposal.
La Balsa Arte started activities in 2014 in Bogotá, and in 2017 opened a space in Medellín. The objective is to represent, promote and exhibit the work of national artists, Colombian residents abroad, and international artists whose work reflects research processes in contemporary issues. Considering that the field of visual arts is a powerful tool for thinking, confronting, or reinterpreting the relations of a globalized world. La Balsa Arte has focused on maintaining a close conversation with artists of several generations. Art research refers to the undertaking of any systematic activity whose objective is to broaden the frontiers of understanding and knowledge, both aesthetic and in the social sciences, the relations between culture and society, and the development history of the current world.
In its years of activity, La Balsa Arte has sponsored the participation of its artists in fairs, cultural exchanges, residences, and logistical support for production.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
This project is based on the analysis of those forms of the pictorial and sculptural representation of heroes and notables of the 19th and early 20th centuries, analyzing the compositional schemes, symbology, and iconography that are part of national historical consciousness and that they were looking for at the time of their elaboration, the construction and consolidation of a new republic of a sovereign state founded on "universal" laws and regulations, using foreign aesthetics and models. The historical distance with which we can approach this iconography, glimpses two routes that can be seen in the project, on the one hand, the permanence or not of the political and authoritarian aura with which these representations were invested, allowing us to discern the new forms of appropriation and reinterpretation from a historical perspective, which transform and shape the republican legacies and rewrite that national memory from new drives and socio-political expansions. On this route, we can find fragmentation, disappearance, and fire, plastic strategies that seek to find languages and media that address the partial or total loss of aura in these elements of national representation. On the other hand, we have a route that makes visible the role played by the Fine Arts and especially the European canons of representation when building this entire legacy and national imaginary, where international artists who enjoyed a good name and position were delegates in the realization of the most prominent commissions, making national artists and their traditional and costumbrist forms invisible. This route seeks to question the "correct ways" and the imported aesthetics of the nascent nation and, on the contrary, to review from forms of contemporary representation the so-called "mamarrachas" aesthetics from the dissolution, the crossed out and the unfinished. As an epilogue, the project analyzes the role that litera has had in the construction of a national historical memory, its power and hegemony from the discourse, the story or the public location, erasing or whitewashing other stories and prioritizing History over other stories shaping the ideals and beliefs of an era and helping in the construction of ideals and governmental norms. The overlapping of texts, the visibility of other discourses and the intervention of editorial material are gestures that reflect on what has been and seeks to be silenced or whitewashed. Jorge Marín is a graphic designer and Master of Plastic Arts from the University of Antioquia. He is currently studying his Master's Degree in Plastic and Visual Arts at the National University of Colombia, Medellín headquarters. Marín is a teacher of Graphic Design, Illustration, and Visual Arts. He has participated in important residencies such as FLORA ars+natura, Bogotá, Colombia, Bitamine Facktoria, Irún, Basque Country, Spain, Residencia EnBloque IDARTES/ArtBo, Bogotá, Colombia, Hestia art residency, Belgrade, Serbia and Museo de Antioquia, Medellín, Colombia.
