A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
Clara Sánchez Sala | Adolfo Bimer | David Martínez | Victor Esther
ATM is a platform that hosts projects that go outside the traditional exhibition format, working with residency programs and different colaborations. It partners with artists from different backgrounds to help them show the artistic value of their work in the context of broader classifications.
ATM promotes a solid work ethics that seeks to help their artist reach the international contemporary art scene.
DOSSIER QUE RECOGE LA INFORMACION SOBRE EL PROYECTO ADJUNTA
DOSSIER QUE RECOGE LA INFORMACION SOBRE EL PROYECTO ADJUNTA
DOSSIER QUE RECOGE LA INFORMACION SOBRE EL PROYECTO ADJUNTA
In Clara Sánchez's artistic practice, connections are developed between scientific, literary and technological data, from a poetic point of view, starting from three fundamental themes in her artistic research: The fictional dimension of cartographic representation; rational and metric, the reflection on the landscape as a meeting space, and the Earth as a primeval experience of man. In order to create a discourse always referring to the complex fictional world that humans generate in that incessant dis-estrangement in which the encounter with the external world consists, and that we usually call: “real”.
In Clara Sánchez's artistic practice, connections are developed between scientific, literary and technological data, from a poetic point of view, starting from three fundamental themes in her artistic research: The fictional dimension of cartographic representation; rational and metric, the reflection on the landscape as a meeting space, and the Earth as a primeval experience of man. In order to create a discourse always referring to the complex fictional world that humans generate in that incessant dis-estrangement in which the encounter with the external world consists, and that we usually call: “real”.
In Clara Sánchez's artistic practice, connections are developed between scientific, literary and technological data, from a poetic point of view, starting from three fundamental themes in her artistic research: The fictional dimension of cartographic representation; rational and metric, the reflection on the landscape as a meeting space, and the Earth as a primeval experience of man. In order to create a discourse always referring to the complex fictional world that humans generate in that incessant dis-estrangement in which the encounter with the external world consists, and that we usually call: “real”.
David Martínez Suárez focuses his process on a notion of sculpture understood as a series of relationships that give shape to form. Articulations between objects and remains of objects that in some way help him to identify the affective practice in relation to the exposed materials. It tries to turn the artistic process into a space where to question the relationship between the body and the space. He has carried out projects such as “Mente Salvaje” with a grant from the BBVA Foundation, or “Azar y Proceso” at the Barjola Museum in Gijón. He has also exhibited individually or collectively in spaces such as the Bilbao Fine Arts Museum. Guggenheim Museum, Bilbao. Artium Museum, Vitoria. Moisés Pérez de Albéniz Gallery, Parra & Romero Gallery, Madrid. Carreras Múgica Gallery, Bilbao. Laboral Art Center, Gijón. Galerie Lisi Hämmerle, Bregenz, among others. Together with the artists Lorea Alfaro, Manu Uranga and Jon Otamendi they launch the MLDJ initiative. He has carried out residencies in different institutions such as Tabakalera, Donostia-San Sebastián. l ́Estruch, Sabadell. Bilbaoarte Foundation or the Kunsthaus Bregenz, Austria. From 2007 to 2010 he has collaborated in the research and publication of Jorge Oteiza's Sculpture Catalog.
David Martínez Suárez focuses his process on a notion of sculpture understood as a series of relationships that give shape to form. Articulations between objects and remains of objects that in some way help him to identify the affective practice in relation to the exposed materials. It tries to turn the artistic process into a space where to question the relationship between the body and the space. He has carried out projects such as “Mente Salvaje” with a grant from the BBVA Foundation, or “Azar y Proceso” at the Barjola Museum in Gijón. He has also exhibited individually or collectively in spaces such as the Bilbao Fine Arts Museum. Guggenheim Museum, Bilbao. Artium Museum, Vitoria. Moisés Pérez de Albéniz Gallery, Parra & Romero Gallery, Madrid. Carreras Múgica Gallery, Bilbao. Laboral Art Center, Gijón. Galerie Lisi Hämmerle, Bregenz, among others. Together with the artists Lorea Alfaro, Manu Uranga and Jon Otamendi they launch the MLDJ initiative. He has carried out residencies in different institutions such as Tabakalera, Donostia-San Sebastián. l ́Estruch, Sabadell. Bilbaoarte Foundation or the Kunsthaus Bregenz, Austria. From 2007 to 2010 he has collaborated in the research and publication of Jorge Oteiza's Sculpture Catalog.
David Martínez Suárez focuses his process on a notion of sculpture understood as a series of relationships that give shape to form. Articulations between objects and remains of objects that in some way help him to identify the affective practice in relation to the exposed materials. It tries to turn the artistic process into a space where to question the relationship between the body and the space. He has carried out projects such as “Mente Salvaje” with a grant from the BBVA Foundation, or “Azar y Proceso” at the Barjola Museum in Gijón. He has also exhibited individually or collectively in spaces such as the Bilbao Fine Arts Museum. Guggenheim Museum, Bilbao. Artium Museum, Vitoria. Moisés Pérez de Albéniz Gallery, Parra & Romero Gallery, Madrid. Carreras Múgica Gallery, Bilbao. Laboral Art Center, Gijón. Galerie Lisi Hämmerle, Bregenz, among others. Together with the artists Lorea Alfaro, Manu Uranga and Jon Otamendi they launch the MLDJ initiative. He has carried out residencies in different institutions such as Tabakalera, Donostia-San Sebastián. l ́Estruch, Sabadell. Bilbaoarte Foundation or the Kunsthaus Bregenz, Austria. From 2007 to 2010 he has collaborated in the research and publication of Jorge Oteiza's Sculpture Catalog.
My pieces are usually subject to modifications determined by the space itself and the time of their installation, they do not attend to a single technique but neither do they fall within the range of mixed technique, they tend to be well differentiated pieces in their production process, some have series character, others totally individual at least on a formal level - if the formal level has any importance beyond one's own taste or aesthetic whim. However, these are strongly linked by ties that could be as obvious as diffuse depending on the viewer's creative confrontation with the work or myself as an artist depending on the intensities of experience .
My pieces are usually subject to modifications determined by the space itself and the time of their installation, they do not attend to a single technique but neither do they fall within the range of mixed technique, they tend to be well differentiated pieces in their production process, some have series character, others totally individual at least on a formal level - if the formal level has any importance beyond one's own taste or aesthetic whim. However, these are strongly linked by ties that could be as obvious as diffuse depending on the viewer's creative confrontation with the work or myself as an artist depending on the intensities of experience .
My pieces are usually subject to modifications determined by the space itself and the time of their installation, they do not attend to a single technique but neither do they fall within the range of mixed technique, they tend to be well differentiated pieces in their production process, some have series character, others totally individual at least on a formal level - if the formal level has any importance beyond one's own taste or aesthetic whim. However, these are strongly linked by ties that could be as obvious as diffuse depending on the viewer's creative confrontation with the work or myself as an artist depending on the intensities of experience .