La Balsa Arte

Contact: Ana Patricia Gomez Jaramillo
CARRERA 9 # 73 - 44

'Gestos de gestas'

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.

Contact

Galeria
GALERIA DE ARTE LA BALSA SAS
Ana Patricia Gomez Jaramillo
CARRERA 9 # 73 - 44
3206911029
Jorge Marín
Gestos de gestas, 2021
sculpture made of sand and minerals
variables para cada pieza (manos a escala 1:1), pieza única.

Artist review

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.

About the artist
Jorge Marín
Gestos de gestas, 2021
sculpture made of sand and minerals
variables para cada pieza (manos a escala 1:1), pieza única.

Artist review

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.

About the artist
Jorge Marín
Todo lo escrito termina olvidado, 2022
Photography
42 x 63 cm

Artist review

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.

About the artist
Jorge Marín
El ocaso, 2022
Ink on ceramic plate
17,5 cm de diámetro, pieza única

Artist review

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.

About the artist
Jorge Marín
Ecuestre II, 2022
Oil on canvas
150 x 110 cm

Artist review

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.

About the artist
Jorge Marín
composiciones para la glorificación de un nuevo estado soberano, 2022
charcoal on cotton paper
54,5 x 16 cm c/u

Artist review

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.

About the artist
Jorge Marín
Lo perdurable de un símbolo olvidado, 2022
Photography
80 x 63 cm

Artist review

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.

About the artist
Jorge Marín
Bandera, 2019
Oil on raw canvas and object
variables ( 30 x 30 x 30 cm aproximadamente)

Artist review

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.

About the artist
Jorge Marín
Procer, 2022
Oil and charcoal on canvas
150 x 110 cm

Artist review

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.

About the artist
Jorge Marín
Ecuestre I, 2022
Oil on canvas
150 x 110 cm

Artist review

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.

About the artist
Español Link