A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
SKETCH proposes for Semana Artbo an exhibition in which the delirious abstractions and sober concretions, vibrations of pure color and contortions of happy bodies by Lorena Espitia, Gabriel Mejía Abad & Tupac Cruz will be put into dialogue. They will curate internally existing works with new ones the when confronted their nature mutates . We will not try to find coherence in their disaggregated productions, rather we propose to assemble their disintegration into modules that vectorize the dispersed emotions and significance that floats between them. Some works are going to adopt others, other works are going to distort each other, and new works are going to distribute the energies so that they do not accumulate and circulate. They will put together phrases, little phrases, little songs with works to recover their disconnected thoughts, as if they were archaeological remains, vestiges of a triangular tribe, integrated by the tree artists
SKETCH gallery opened its doors in San Felipe Art District, acting as a platform and exhibition space for emerging contemporary art. Today all forms of art have expanded and drawing has become a fundamental and autonomous art form. Our interest lies in investigating the relationship(s) that can be constructed between drawing and other media and so think about the expanded nature of a SKETCH. The count with more than 200 square meters of exhibition space as well as a rooftop designed for site-specific works and outdoor activities.
obtained his diploma from the Superior Academy of Arts of Bogotá in 2007 and a master's degree from the California Institute of the Arts, (CalArts) in Los Angeles, California in 2017 thanks to the Young Talents scholarship from Banco de la República de Colombia. In 2017 and 2018 she was a fellow at the Akademie Schloss Solitude in Stuttgart (Germany). In 2019, she was part of the seminar on curatorial practice Curar / CREATE of the Fundación FLORA ars + natura in Bogotá. Since 2006, Lorena Espitia has developed a constant activity as a visual artist, in different fields and around multiple problems, evading social expectations about her work as an artist and always expanding her space for maneuver. Although Espitia's work establishes a permanent dialogue with painting, this dialogue is based on the tension to reconsider the modes of what is called “painting” and to understand the scope and limitations of the social definition of “painter”. Through her work, Lorena has compiled a set of questions about technique, learning and work, models of representation of reality and the expansive possibilities of painting. Espitia's projects often respond to specific circumstances that allow her to destabilize her own position as an artist by exploring heterogeneous representation strategies such as the early Russian avant-gardes and paleontological popular knowledge, Godard's early films and the vernacular of the Science fiction. Espitia's work is developed in the light of a self-learning impulse to deal with topics such as the iconography of extinction, the cognitive potentialities of diagrams, the visual representation of social struggles or the connection between acts of vision and acts of movement. Between 2005 and 2009, Espitia was a member of El Bodegón (Contemporary Art- Social Life), an independent artist-run space that produced more than one hundred exhibitions of Colombian and international artists. She is the bassist for the bands Las Ruinas Telepáticas, Montón Volador (since 2012) and Aurora Rampante (since 2015). Among her group and individual exhibitions, the highlights are "I have everything, everything is missing" (2018), presented in Corferias, Bogotá, "Dysfunctional Formulas of Love, The Box Gallery, for Pacific Standard Time: LA / LA ”(2017) at the Getty Foundation in Los Angeles, California, “Need A Show For This Title” at the California Institute of the Arts, in Valencia, California and “Stop Following Me Morning Star” at the Medellín Museum of Art.
GABRIEL MEJÍA ABAD Plastic artist Gabriel Mejía Abad was born in 1978 in Medellín, Colombia, and lives and works in Bogotá. He divides his time between artistic practice, curatorial and editorial management, and literary production. His artistic practice investigates the understanding of propaganda in its most subtle and at the same time most effective forms. In his words: “the propaganda acquires unsuspected dimensions, from subtleties that look like a caress in a soap commercial to an exacerbated war cry in an electoral campaign. A range of possibilities of such magnitude deserves a detailed but not always obsessive look, being a spectator also lies in letting oneself be touched by the messages and discovering oneself being massaged ”. In his sculptural production he uses domestic, everyday and even trivial objects, which "can be found in any middle-class house" (Mejía Abad), apparently harmless but also disturbing due to their supposed inability to produce meaning. He has published several books, written in magazines such as Vice, Sablazo, and Arcadia, and has contributed to independent publications such as Matera, Sobre el failed and Tropical Porn, Terremoto, among many others. At present he is director and editor of the publisher Salvaje. His work has recently been exhibited in: Constructing optimism (individual), place a doubt, Cali, 2018; and Paraíso Bajo, Bogotá, 2018; Dysfunctional Formulas of Love, The Box, Los Angeles, 2017; Modern luxury (individual), Liberia, Bogotá, 2017; The effective section (individual), MIAMI, Bogotá, 2016; Protesta & proxemia, Project Room of the Universidad de los Andes, Bogotá 2015; The entrails of the world (individual), NADA, Bogotá, 2015; The dream of reason produces monsters (individual), MIAMI, Bogotá, 2014, and (bis) | project office, Cali 2014.
obtained his diploma from the Superior Academy of Arts of Bogotá in 2007 and a master's degree from the California Institute of the Arts, (CalArts) in Los Angeles, California in 2017 thanks to the Young Talents scholarship from Banco de la República de Colombia. In 2017 and 2018 she was a fellow at the Akademie Schloss Solitude in Stuttgart (Germany). In 2019, she was part of the seminar on curatorial practice Curar / CREATE of the Fundación FLORA ars + natura in Bogotá. Since 2006, Lorena Espitia has developed a constant activity as a visual artist, in different fields and around multiple problems, evading social expectations about her work as an artist and always expanding her space for maneuver. Although Espitia's work establishes a permanent dialogue with painting, this dialogue is based on the tension to reconsider the modes of what is called “painting” and to understand the scope and limitations of the social definition of “painter”. Through her work, Lorena has compiled a set of questions about technique, learning and work, models of representation of reality and the expansive possibilities of painting. Espitia's projects often respond to specific circumstances that allow her to destabilize her own position as an artist by exploring heterogeneous representation strategies such as the early Russian avant-gardes and paleontological popular knowledge, Godard's early films and the vernacular of the Science fiction. Espitia's work is developed in the light of a self-learning impulse to deal with topics such as the iconography of extinction, the cognitive potentialities of diagrams, the visual representation of social struggles or the connection between acts of vision and acts of movement. Between 2005 and 2009, Espitia was a member of El Bodegón (Contemporary Art- Social Life), an independent artist-run space that produced more than one hundred exhibitions of Colombian and international artists. She is the bassist for the bands Las Ruinas Telepáticas, Montón Volador (since 2012) and Aurora Rampante (since 2015). Among her group and individual exhibitions, the highlights are "I have everything, everything is missing" (2018), presented in Corferias, Bogotá, "Dysfunctional Formulas of Love, The Box Gallery, for Pacific Standard Time: LA / LA ”(2017) at the Getty Foundation in Los Angeles, California, “Need A Show For This Title” at the California Institute of the Arts, in Valencia, California and “Stop Following Me Morning Star” at the Medellín Museum of Art.
obtained his diploma from the Superior Academy of Arts of Bogotá in 2007 and a master's degree from the California Institute of the Arts, (CalArts) in Los Angeles, California in 2017 thanks to the Young Talents scholarship from Banco de la República de Colombia. In 2017 and 2018 she was a fellow at the Akademie Schloss Solitude in Stuttgart (Germany). In 2019, she was part of the seminar on curatorial practice Curar / CREATE of the Fundación FLORA ars + natura in Bogotá. Since 2006, Lorena Espitia has developed a constant activity as a visual artist, in different fields and around multiple problems, evading social expectations about her work as an artist and always expanding her space for maneuver. Although Espitia's work establishes a permanent dialogue with painting, this dialogue is based on the tension to reconsider the modes of what is called “painting” and to understand the scope and limitations of the social definition of “painter”. Through her work, Lorena has compiled a set of questions about technique, learning and work, models of representation of reality and the expansive possibilities of painting. Espitia's projects often respond to specific circumstances that allow her to destabilize her own position as an artist by exploring heterogeneous representation strategies such as the early Russian avant-gardes and paleontological popular knowledge, Godard's early films and the vernacular of the Science fiction. Espitia's work is developed in the light of a self-learning impulse to deal with topics such as the iconography of extinction, the cognitive potentialities of diagrams, the visual representation of social struggles or the connection between acts of vision and acts of movement. Between 2005 and 2009, Espitia was a member of El Bodegón (Contemporary Art- Social Life), an independent artist-run space that produced more than one hundred exhibitions of Colombian and international artists. She is the bassist for the bands Las Ruinas Telepáticas, Montón Volador (since 2012) and Aurora Rampante (since 2015). Among her group and individual exhibitions, the highlights are "I have everything, everything is missing" (2018), presented in Corferias, Bogotá, "Dysfunctional Formulas of Love, The Box Gallery, for Pacific Standard Time: LA / LA ”(2017) at the Getty Foundation in Los Angeles, California, “Need A Show For This Title” at the California Institute of the Arts, in Valencia, California and “Stop Following Me Morning Star” at the Medellín Museum of Art.
Tupac Cruz Writer, visual artist, translator. He studied film and philosophy. He has published comics, experimental literature texts, academic essays. University professor in departments of philosophy and art, teacher and interpreter at the Uncertain School of Place to Doubts. He has belonged to several musical groups, including Montón Volador and Aurora Rampante. He has exhibited drawings, embroidery, videos, flags, constructions with found materials, in Cali, Bogotá, Los Angeles, Stuttgart, and other cities.
Tupac Cruz Writer, visual artist, translator. He studied film and philosophy. He has published comics, experimental literature texts, academic essays. University professor in departments of philosophy and art, teacher and interpreter at the Uncertain School of Place to Doubts. He has belonged to several musical groups, including Montón Volador and Aurora Rampante. He has exhibited drawings, embroidery, videos, flags, constructions with found materials, in Cali, Bogotá, Los Angeles, Stuttgart, and other cities.
Tupac Cruz Writer, visual artist, translator. He studied film and philosophy. He has published comics, experimental literature texts, academic essays. University professor in departments of philosophy and art, teacher and interpreter at the Uncertain School of Place to Doubts. He has belonged to several musical groups, including Montón Volador and Aurora Rampante. He has exhibited drawings, embroidery, videos, flags, constructions with found materials, in Cali, Bogotá, Los Angeles, Stuttgart, and other cities.
GABRIEL MEJÍA ABAD Plastic artist Gabriel Mejía Abad was born in 1978 in Medellín, Colombia, and lives and works in Bogotá. He divides his time between artistic practice, curatorial and editorial management, and literary production. His artistic practice investigates the understanding of propaganda in its most subtle and at the same time most effective forms. In his words: “the propaganda acquires unsuspected dimensions, from subtleties that look like a caress in a soap commercial to an exacerbated war cry in an electoral campaign. A range of possibilities of such magnitude deserves a detailed but not always obsessive look, being a spectator also lies in letting oneself be touched by the messages and discovering oneself being massaged ”. In his sculptural production he uses domestic, everyday and even trivial objects, which "can be found in any middle-class house" (Mejía Abad), apparently harmless but also disturbing due to their supposed inability to produce meaning. He has published several books, written in magazines such as Vice, Sablazo, and Arcadia, and has contributed to independent publications such as Matera, Sobre el failed and Tropical Porn, Terremoto, among many others. At present he is director and editor of the publisher Salvaje. His work has recently been exhibited in: Constructing optimism (individual), place a doubt, Cali, 2018; and Paraíso Bajo, Bogotá, 2018; Dysfunctional Formulas of Love, The Box, Los Angeles, 2017; Modern luxury (individual), Liberia, Bogotá, 2017; The effective section (individual), MIAMI, Bogotá, 2016; Protesta & proxemia, Project Room of the Universidad de los Andes, Bogotá 2015; The entrails of the world (individual), NADA, Bogotá, 2015; The dream of reason produces monsters (individual), MIAMI, Bogotá, 2014, and (bis) | project office, Cali 2014.
GABRIEL MEJÍA ABAD Plastic artist Gabriel Mejía Abad was born in 1978 in Medellín, Colombia, and lives and works in Bogotá. He divides his time between artistic practice, curatorial and editorial management, and literary production. His artistic practice investigates the understanding of propaganda in its most subtle and at the same time most effective forms. In his words: “the propaganda acquires unsuspected dimensions, from subtleties that look like a caress in a soap commercial to an exacerbated war cry in an electoral campaign. A range of possibilities of such magnitude deserves a detailed but not always obsessive look, being a spectator also lies in letting oneself be touched by the messages and discovering oneself being massaged ”. In his sculptural production he uses domestic, everyday and even trivial objects, which "can be found in any middle-class house" (Mejía Abad), apparently harmless but also disturbing due to their supposed inability to produce meaning. He has published several books, written in magazines such as Vice, Sablazo, and Arcadia, and has contributed to independent publications such as Matera, Sobre el failed and Tropical Porn, Terremoto, among many others. At present he is director and editor of the publisher Salvaje. His work has recently been exhibited in: Constructing optimism (individual), place a doubt, Cali, 2018; and Paraíso Bajo, Bogotá, 2018; Dysfunctional Formulas of Love, The Box, Los Angeles, 2017; Modern luxury (individual), Liberia, Bogotá, 2017; The effective section (individual), MIAMI, Bogotá, 2016; Protesta & proxemia, Project Room of the Universidad de los Andes, Bogotá 2015; The entrails of the world (individual), NADA, Bogotá, 2015; The dream of reason produces monsters (individual), MIAMI, Bogotá, 2014, and (bis) | project office, Cali 2014.