A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
ONIROMANTE
Starting with a dream, Umberto Eco develops an article about how the planet, that we love and care for it so much, would be in case of a disaster that ends with a good part of the human inhabitants of it
With this collective show, the artists turn themselves in dream interpreters to foresee the future, one in which Eco describes that “They will appear again, in the middle of the mountain, lots of animals, badgers, martens, foxes and hares in plenty.”
A world in which reading will flourish again, because books, except in the case of fire, survive a lot of disasters and will make us company in the long winters and even in the summer, when we relieve ourselves under a tree.
The oniromante not only interprets, he announces the formula of how to avoid the end of the word: “If we manage to contain our consumption, avert violence, without getting involved in that of others, and savor from time to time the old rituals and the old-fashioned customs”
Is a world that is enough to want it. The question is if the spectator reflects about the proposal of these oniromantes, that expect not to end up as the prophets to whom nobody had paid any heed, and that if the dream of Eco’s third nature is told as a dream and not as anticipation of his desires and fears.
Policroma is a space for interaction, encounter and collaboration, through the aesthetic and conceptual richness of its artists proposals. Since 2018, the gallery opened its doors, to diffuse, promote and commercialize contemporary art through local and international artists, both represented and in alliances with other galleries and spaces.
Catalina Jaramillo Quijano creates visual narrations and directs them through different media to establish a bridge between fiction and auto biography. She evokes images of literature, philosophy, mythologic symbolism and obsolete doctrines, to transform them, using humor, cynicism and allegoric deformation in a singular collection of histories. Her work is mark by a process of experimentation with words in its multiple possibilities, which functions as a starting point, an insinuation or visual play, resignifying the figure of the author and the reader she pretends to create minimal narrations with the use of simple gestures and subtle signals to be read.
Catalina Jaramillo Quijano creates visual narrations and directs them through different media to establish a bridge between fiction and auto biography. She evokes images of literature, philosophy, mythologic symbolism and obsolete doctrines, to transform them, using humor, cynicism and allegoric deformation in a singular collection of histories. Her work is mark by a process of experimentation with words in its multiple possibilities, which functions as a starting point, an insinuation or visual play, resignifying the figure of the author and the reader she pretends to create minimal narrations with the use of simple gestures and subtle signals to be read.
Catalina Jaramillo Quijano creates visual narrations and directs them through different media to establish a bridge between fiction and auto biography. She evokes images of literature, philosophy, mythologic symbolism and obsolete doctrines, to transform them, using humor, cynicism and allegoric deformation in a singular collection of histories. Her work is mark by a process of experimentation with words in its multiple possibilities, which functions as a starting point, an insinuation or visual play, resignifying the figure of the author and the reader she pretends to create minimal narrations with the use of simple gestures and subtle signals to be read.
Her work revolves around the complex relationships of human beings with the environment, in the contemporary world. Sara Herrera seeks to address these problems by making visible the values that have been prioritized and built as a society, and those that have been subtracted from the natural world. Through drawing and painting, she establishes dialogues with the current human to make them understand that nature needs to be heard.
Her work revolves around the complex relationships of human beings with the environment, in the contemporary world. Sara Herrera seeks to address these problems by making visible the values that have been prioritized and built as a society, and those that have been subtracted from the natural world. Through drawing and painting, she establishes dialogues with the current human to make them understand that nature needs to be heard.
Laura Montoya explores her work between the technique of drawing and the wealth of its possibilities. The line is a. recurring concept with which she seeks to establish relationships with nature and biology. The dot, as an analogy to the cell or particle that initiates life, is the trigger for numerous formal possibilities, which, accompanied by gesture and movement, produce random configurations that range from a simple line to the complexity of creatures who are the result of the artist's imagination.
Laura Montoya explores her work between the technique of drawing and the wealth of its possibilities. The line is a. recurring concept with which she seeks to establish relationships with nature and biology. The dot, as an analogy to the cell or particle that initiates life, is the trigger for numerous formal possibilities, which, accompanied by gesture and movement, produce random configurations that range from a simple line to the complexity of creatures who are the result of the artist's imagination.
Laura Montoya explores her work between the technique of drawing and the wealth of its possibilities. The line is a. recurring concept with which she seeks to establish relationships with nature and biology. The dot, as an analogy to the cell or particle that initiates life, is the trigger for numerous formal possibilities, which, accompanied by gesture and movement, produce random configurations that range from a simple line to the complexity of creatures who are the result of the artist's imagination.
Angelica Teuta is a Colombian nomadic artist. She creates site-specific installations that start a dialogue with the guest space and the construction of a dreamlike space. She uses resources such as DIY (do it yourself) methods, analog and digital projections, household materials and sound in order to acquire a playful ambient for the visitor. These immersive spaces talk or question the context and needs that visitors or surroundings experience. Inspired by 19th century ghost imagery, perceptual experience elements are always nude and easy to copy; she doesn’t pretend to trick observers, but rather to inspire them through curiosity to recreate the ambience by themselves at home or in communities. Teuta frequently uses the concept of natural landscapes as a nostalgic representation of our lost world. Her "Emotional Architecture" project combines interests in vernacular and nomadic design, DIY furniture, and wooden structures, designing micro-spaces within other spaces. Indoors and outdoors exercises create a fantastic and narrative universe. Utopia, childhood memories, zen environments and working with live plants are also themes prevalent in Teuta's work.
Angelica Teuta is a Colombian nomadic artist. She creates site-specific installations that start a dialogue with the guest space and the construction of a dreamlike space. She uses resources such as DIY (do it yourself) methods, analog and digital projections, household materials and sound in order to acquire a playful ambient for the visitor. These immersive spaces talk or question the context and needs that visitors or surroundings experience. Inspired by 19th century ghost imagery, perceptual experience elements are always nude and easy to copy; she doesn’t pretend to trick observers, but rather to inspire them through curiosity to recreate the ambience by themselves at home or in communities. Teuta frequently uses the concept of natural landscapes as a nostalgic representation of our lost world. Her "Emotional Architecture" project combines interests in vernacular and nomadic design, DIY furniture, and wooden structures, designing micro-spaces within other spaces. Indoors and outdoors exercises create a fantastic and narrative universe. Utopia, childhood memories, zen environments and working with live plants are also themes prevalent in Teuta's work.
Angelica Teuta is a Colombian nomadic artist. She creates site-specific installations that start a dialogue with the guest space and the construction of a dreamlike space. She uses resources such as DIY (do it yourself) methods, analog and digital projections, household materials and sound in order to acquire a playful ambient for the visitor. These immersive spaces talk or question the context and needs that visitors or surroundings experience. Inspired by 19th century ghost imagery, perceptual experience elements are always nude and easy to copy; she doesn’t pretend to trick observers, but rather to inspire them through curiosity to recreate the ambience by themselves at home or in communities. Teuta frequently uses the concept of natural landscapes as a nostalgic representation of our lost world. Her "Emotional Architecture" project combines interests in vernacular and nomadic design, DIY furniture, and wooden structures, designing micro-spaces within other spaces. Indoors and outdoors exercises create a fantastic and narrative universe. Utopia, childhood memories, zen environments and working with live plants are also themes prevalent in Teuta's work.