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Intervenciones in situ en los patios y corredores del MAMU

Por: Banco de la República – Actividad Cultural

El próximo sábado 30 de septiembre el Banco de la República inaugura una nueva versión de Nuevos Nombres, un programa que desarrolla desde 1985 y a través del cual busca visibilizar el trabajo de artistas emergentes en Colombia. Esta nueva versión es una curaduría conjunta de David Ayala-Alfonso, Nicolás Gómez Echeverri y Luis Fernando Ramírez, que se divide en tres etapas acumulativas que finalizarán en noviembre de 2018. Los siete artistas seleccionados harán intervenciones en diferentes espacios del Museo de Arte Miguel Urrutia –MAMU- y en el portal cultural del Banco de la República.

Tome nota:

  • La entrada al MAMU (calle 11 #4-21) es gratuita.
  • El museo está abierto de lunes a sábado (excepto los martes, que está cerrado) de 9:00 a.m. a 7:00 p.m. y los domingos y festivos de 10:00 a.m. a 5:00 p.m.

Durante los últimos veinte años Bogotá ha sufrido una serie de cambios estructurales que ha reorganizado su espacio urbano de manera radical, esto en parte, gracias a intervenciones públicas y privadas y a distintas iniciativas, por ejemplo de economía solidaria o de resistencia comunitaria, que promueven perspectivas diversas sobre la construcción y el uso de los espacios.

La Manzana Cultural del Banco de la República en el centro histórico de Bogotá es un buen ejemplo de esto. Este complejo cultural se caracteriza por la diversidad y el contraste entre estilos arquitectónicos, periodos históricos y materiales. Hay, por ejemplo, edificaciones del siglo XVII (como la Casa de Moneda), del siglo XIX (el antiguo Palacio Arzobispal de Bogotá, hoy en día el Museo Botero), la década del cincuenta del siglo XX (la Biblioteca Luis Ángel Arango) y de años más recientes (el Museo de Arte Miguel Urrutia, Premio Nacional de Arquitectura en 2006).

Esa amalgama de fachadas, corredores y pasadizos está, sin que se nombre o señale directamente, presente en la experiencia que se llevan los visitantes al recorrer los museos. Esta curaduría quiere enriquecer ese “estar en el museo” con intervenciones artísticas en los patios y los corredores del MAMU que, por una parte, cuestione a los espectadores sobre su relación material, inmaterial y cultural con los espacios; y por la otra, dé cuenta de cómo los artistas reaccionan a la ecología contemporánea del espacio.

Primera etapa

Durante esta primera etapa de Nuevos nombres, que se exhibe entre el 30 de septiembre de 2017 y el 5 de noviembre de 2018, se exhibirán cuatro obras in situ: Edificio Modinaglopro I (2017) de Matilde Guerrero, una obra que se instalará en una de las plazoletas externas del MAMU y que recuerda “las casas que crecen”, esas propiedades que avanzan en área y altura de acuerdo con las posibilidades de sus propietarios; El vuelo de la ballena (2017) de Snyder Moreno, una manga de viento de viento monumental que evoca los viajes migratorios de las ballenas en el Pacífico colombiano; Proyecto 2415017 (V. 2.0) (2017) de Carlos Guzmán, una obra que relata la toma del Palacio de Justicia, ocurrida a pocas cuadras de la Manzana Cultural; e Incrustación (2017) de Alejandro Sánchez Suárez, dos contenedores de carga que, casi irrealmente, se ensamblan en una de las fachadas interiores.

Además del espacio físico la muestra también alcanzará el espacio virtual, dado que tres obras se alojarán en el portal cultural del Banco de la República: Promesas (2017) de Ana María Montenegro, sobre los discursos y las promesas de los políticos; Datasfera_1.0: Tierra Bomba (2013) de Fito Segrera, sobre la construcción de experiencias compartidas a través de Internet; y La piel del dinero (2017) de Daniel Escobar Vásquez, un proyecto que estudia los billetes colombianos a partir de categorías de género, raza, procedencia geográfica, campo de acción (político, militar, científico o artístico), etc.

Datasfera_1.0: Tierra Bomba de Fito Segrera.

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¿Que lo motivó a participar en el Reconocimiento a la Crítica y el Ensayo?

Por: Area de Proyectos  / Departamento de Arte Universidad de Los Andes

“La crítica de arte, en otro momento, tenía un papel más central. Hoy en día, por el cambio político y social, se percibe que tiene otro papel en el campo” ––Entrevista con Carlos Guzmán, ganador del Premio Nacional de Crítica en 2014

¿Que lo motivó a participar en el Reconocimiento a la Crítica y el Ensayo? from proyectos on Vimeo.

 

EDICIONES PORTUNHOL

Por: CasaTomada

<PORT> Ediciones Portunhol é uma coleção de ensaios, livros de artistas e cadernos de referência produzidos por artistas e teóricos de vários cantos da América Latina e editado por Casa Tomada. Seu conteúdo alterna, frequentemente, o espanhol e o português, e reivindica o portunhol como princípio aglutinador, propício à circulação de pensamento e de produção artística no continente. Nessa interlíngua oficiosa (a qual deveríamos idealmente incorporar também o guaraní, o mapuche, o creol, o iorubá e outros tantos), reverbera uma rede complexa de subjetividades e identidades que conforma o que é dito latino-americano, ressaltando seus contrastes, pontos de contato e mutações constantes. Ler, escutar, escrever e falar a América Latina em seu idioma fantasiado é, finalmente, refletir sobre a direção em que queremos reinventar nossa cultura e nosso lugar no mundo.

<ESP> Ediciones Portunhol es una colección de ensayos, libros de artistas y cuadernos de referencia producidos por artistas y teóricos de diversos rincones de América Latina y editado por Casa Tomada. Su contenido alterna a menudo el español y el portugués, y reivindica el portunhol como un principio unificador, propicio para la circulación del pensamiento y de la producción artística en el continente. En esta interlingua oficiosa (a la cual deberíamos idealmente incorporar el guaraní, el mapuche, el creol, el yoruba y muchos otros), reverbera un entramado complejo de subjetividades e identidades que conforman lo que se dice latinoamericano, señalando sus contrastes, puntos de contacto y mutaciones constantes. Leer, escuchar, escribir y hablar la América Latina en su lengua fantaseada es, en última instancia, reflexionar sobre la dirección hacia la cual queremos reinventar nuestra cultura y nuestro lugar en el mundo.


Livros de artistas: 

  • Andrés Bedoya (Bolívia)
  • Carlos Guzmán (Colômbia)
  • Claudia Gonzalez Godoy (Chile)
  • Gustavo Speridião (Brasil)
  • Julián D’Angiolillo (Argentina)
  • Leonello Zambón (Argentina)
  • Lucas Sargentelli (Brasil)
  • Papelito no más es (Equador)

 

Cadernos de referência: 

  • Carlos Guzmán (Colômbia)
  • Brigida Campbell (Brasil)

 

Textos teóricos:

  • Luis Camnitzer (Uruguai)
  • Duplus (Santiago García Aramburu, Santiago García Navarro, Teresa Riccardi e Valeria González – Argentina)


Coordenação editorial: Juliana Gontijo
Concepção: Gabriel Bogossian e Tainá Azeredo
Projeto gráfico: Lucas Sargentelli

“Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP

Por: A.C. Videobrasil

This Saturday, beginning at 11 am, #GalpãoVB will show videos by Jonathas de Andrade, Clara Ianni and Mihai Grecu, among other artists in the Videobrasil Historical Collection. “Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP, who picked through the Collection with guidance from professor Cauê Alves.

The Videobrasil Historical Collection, comprising artworks from all past Festivals, is the basis for the project, a PUC-SP/Associação Cultural Videobrasil partnership. The goal is to create a space in which to explore the formative role of the organizations involved, and to encourage the collective conception, discussion, and development of contemporary art curation projects.

Contiguity and Incompleteness is a snapshot of the artwork featured in the latest three editions of the Contemporary Art Festival SESC_Videobrasil. Their inspiration and general guidelines stem from the geopolitical South – Latin America, the Caribbean, Africa, the Middle East, Eastern Europe, South and Southeast Asia and Oceania – and its humanitarian, societal, political, and historical issues. The pieces in the show hint at distinct modes of analysis of particular realities from countries like Bolivia (Claudia Joskowicz), Brazil (Clara Ianni), Chile (Claudia Aravena), China (Liu Wei), North Korea (Mihai Grecu), and Zimbabwe (Dan Halter).

Memory, migration flows, the social fabric, the failure of social and economic models and of the modern project, the passage of time, historicity, repression and resistance, the visibility/invisibility of ideological, political and historical issues, and social/political conflicts all permeate the artwork and legitimize the pertinacity of bringing to light subjects that systematically converge towards vulnerable, recurring aspects of contemporaneity and of History.

Before the showing at #Galpão, the program designed by students from the subject “Experimental project in criticism and curation” will be available as a map on PLATFORM:VB, Videobrasil’s online art research, experimentation and curating tool, where users can intersect and connect different artworks. Here’s the link: http://plataforma.videobrasil.org.br/#mapeamentos
Check out the artwork list for the Galpão VB show on Saturday, December 10 at 11 am:

Contiguity and incompleteness (Continuidade e incompletude)
Students: Isabella Guimarães, Rachel Balassiano, Simone Nunes, Viviane Tabach
Featured Artworks:

Forma Livre – Clara Ianni – 2013 – 7’14”
11 de Septiembre – Claudia Aravena – 2002 – 5’39”
Round and round and consumed by fire – Claudia Joskowicz – 2009 – 9’12”
Unforgettable Memory — Liu Wei – 2009 – 10’15”
Beitbridge Moonwalk – Dan Halter – 2010 – 5’23”
Projeto Pacífico – Jonathas de Andrade – 2010 – 12’32”
Sitiado – Carlos Guzmán – 2012 – 14’30”
The Reflection of Power – Mihai Grecu – 2014 – 9’1”
QUICK FACTS

Contiguity and Incompleteness
December 10 (Saturday) – 11 amGalpão VB – Av. Imperatriz Leopoldina, 1150, São Paulo
+55 11 3645 0516
Directions: http://site.videobrasil.org.br/galpaovb/visitacao
Free admission / All ages

ARTBO, International Art Fair of Bogota 2016

by: Art-Agenda

ARTBO 2016

October 27–30, 2016

Corferias 
Av. La Esperanza # 39 – South Entrance
Bogotá
Colombia

www.artbo.co
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ARTBO is one of the most important contemporary art fairs in Latin America. Growing from 12,000 visitors during its first edition in 2004 to 35,000 in 2015, it is considered a key player in the international art circuit.

For its upcoming edition, from October 27 to 30, 2016, ARTBO is thrilled to welcome its strongest fair to date, hosting 74 galleries from 28 cities around the world.

Sections

Proyectos
Curated by Jens Hoffmann
Figuratism presents works which explore the human figure through the paint. The exhibition is inspired by the work of Colombian painters Beatriz González and Débora Arango.

Débora Arango, El Museo Gallery, Bogotá; Juan Araujo, Cristina Guerra Gallery, Lisbon; Fabrizio Arrieta, DiabloRosso, Panama; Austé, Greenspon, New York; Dora Longo Bahía, Vermelho, São Paulo; Mariana Bunimov, Henrique Faria, New York & Buenos Aires; Wilson Díaz, Instituto de Visión, Bogotá; Matías Duville,  Revólver Galería, Lima; Beatriz González, Galería Casas Riegner, Bogotá; Heather Guertin, Agustina Ferreyra Gallery, Puerto Rico; Akira Ikezoe, Proyectos Ultravioleta, Guatemala; Jazmín López, Ruth Benzacar Gallery, Buenos Aires; Zach Reini, Adam Gildar Gallery, Denver; Jeni Spota C., Brennan & Griffin, Denver; Morgan Mandalay, Yautepec, Mexico City.

Referentes
Curated by Pablo León de La Barra and co-curated by Erika Flórez
Invisible Forces: First Assembly of Art Critics before the Crisis of Non-Objectualism, presents works by artists questioning the objectual condition of art and the aesthetic categories of the Latin American art in the 1960s, 70s and 80s.

Adolfo Bernal, Galería Casas Riegner; Alicia Barney, Instituto de Visión; Álvaro Barrios, Galería Henrique Faria / Galería La Cometa / Galería El Museo / Instituto de Visión; Ana Mercedes Hoyos, Galería Nueveochenta; Anna Maria Maiolino, Galería Luisa Strina; Antonio Caro, Galería Casas Riegner; Carlos Ginzburg, Henrique Faria Gallery; Carlos Rojas, Galería Casas Riegner / Galería El Museo; Claudio Perna, Henrique Faria Gallery; Clemente Padín, Walden Gallery; Fernando Botero, Galería La Cometa; Grupo Escombros, Walden Gallery; Hudinilson Jr., Galería Jaqueline Martins; Ivens Machado, Galeria Fortes Vilaça; Jonier Marín, Galería Henrique Faria; Jorge Riveros, Galería León Tovar; Lotty Rosenfeld, Galería Isabel Aninat; Luis Caballero, Galería La Cometa; María Angélica Medina, Galería Casas Riegner; María Evelia Marmolejo, Instituto de Visión; Martha Araujo, Galería Jaqueline Martins; Miguel Ángel Cárdenas, Instituto de Visión; Miguel Ángel Rojas, Galería Sicardi; Norman Mejía, Paz Errázuriz, AFA Galería; Ulises Carrión, Walden Gallery.

Artecámara
Curated by Fernando Escobar
At the section for young Colombian art Localizaciones, lugares, locales, dislocaciones presents the works of 23 emerging artists and one artist-run space.

Adriana García, Neiva; Ana María Montenegro, Bogotá; Andrés Sotelo, Bogotá; Breyner Huertas, Bogotá; Camilo Guerra, Bogotá; Carlos Guzmán, Bogotá; Carolina Montejo, Bucaramanga; Carolina Pinzón, Bogotá; Daniela Vargas, Cali; Diana Buitrón, Cali; Felipe Florez, Manizales; Fernando Domingez, Bogotá; Gabriel Zea, Bogotá; Juan David Laserna, Bogotá; Julian Montenegro, Cali; Juliet Sarmiento, Bogotá; Natalia Buitrago Norato, Bogotá; Natalia Sorzano, Bogotá; Paul Guerrero, Bogotá; Puerto Contemporáneo Espacio Alternativo para las Artes, Cartagena; Ricardo Moreno, Bogotá; Sara Herrera, Medellín; Sebastian Mira, Bogotá; Vivian Gonzalez, Bogotá.

Sitio
Curated by María Belén Sáenz Ibarra
The section presents ambitious projects by invited artists which transcend the booths’ areas.

Participating artists: José Alejandro Restrepo, Bogotá; Juan Fernando Herrán, Bogotá; Tania Candiani, Mexico City.

Libro de Artista
Curated by La Silueta

Participating publishers: Archives of Modern Conflict, UK; Arte dos Gráficos, Colombia; Big Sur, Argentina; Caín Press, Colombia; Calipso Press, Colombia; Icinori, France; Ikrek, Brazil; Jardín Publicaciones, Colombia; Kitschic Ediciones, Spain; La Fábrica, Spain; La Oficina del Doctor, Colombia; Mesaestándar Editores, Colombia; Nada, Colombia; Rat Trap, Colombia; Revista Matera, Colombia; Tijuana, Brazil; William Allen Word & Image, UK

FORO—talks program
The subtleties of the argument, curated by Magali Arriola and Mario García Torres
Collectors Talks, curated by Abaseh Mirvali

Articularte
M.U.S.E.O, curated by Laagencia
Section dedicated to explore the notion of museum in the contemporary arts.

For more information, contact artbo@ccb.org.co

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art-agenda 

311 East Broadway

New York, NY 10002, USA

Debatable Screenings: A curated series of global contemporary video

Thursday, July 21 & 28, 7–9 pm
 Los Angeles Times Media Center
 Art Center College of Design

Single-channel video constitutes a prime vehicle for the widespread dissemination of discourse and critique. Its rapid availability through the Internet, as well as its low-cost infrastructural requirements enables exceptional possibilities for establishing networks of collaboration and transnational dialogue.

Debatable Screenings is a series of video programs organized by different curators from around the globe, considering the potentiality of collective agency, artistic and curatorial discourse, and intercultural dialogue. The interaction between these programs creates a stage for debate, where the nuances of the concept of screening are explored against the light of the individual discourse of artists and filmmakers.

In its inaugural cycle, Debatable Screenings features works by Doplgenger, Driant Zenelli, Igor Bošnjak, Endri Dani, Ibro Hasanović, Katarina Zdjelar, Lana Čmajčanin, Mladen Miljanović, Olson Lamaj, Saša Tkačenko, Siniša Ilić & Tina Gverović, Buen Calubayan, Raquel Friera, Lyra Garcellano & W. Don Flores, Elaine W. Ho & Lucio Castro, Mario Santamaria, Julia Sarisetiati, Christian Tablazon, Mahardika Yudha, Claudia Joskowicz, Laura Huertas Millán, Juan Manuel Echavarría, Carlos Guzman, and Felipe Steinberg.

Please join us at the Los Angeles Times Auditorium at Art Center on Thursday, July 21 for a presentation and talk with curators Maja Ciric and David Ayala-Alfonso, and the first screening program, “Lend Me Your Sofness”, curated by Renan Laru-An. Debatable Screenings will close on Thursday, July 28 with two more programs: “Potentials Within”, curated by Maja Ciric and “A Pilgrimage to the Ruins of the Future”, curated by David Ayala-Alfonso.

Debatable Screenings is possible thanks to the kind support of the Humanities and Sciences Department of Art Center College of Design.

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Panorama Colombia 2016: COLOMBIAN VIDEOART PROGRAM

Por: Panorama Colombia

Panorama_logo2

COLOMBIAN VIDEOART PROGRAM: PSYCHIC RESPONSE STRATEGY

This year Kurator Rex will delight us with “Psychic Response Strategy”, his most recent selection of video art which reunites fifty seven works of forty colombian visual artist and filmmakers from distinct generations and trajectories.

Psychic Response Strategy is a selection of video art that arises from the expectation raised by the probability of accessing a special category, a social welfare state called “Post-conflict”.

The VIDEOART PROGRAM will be screened continuously during the duration of the festival in a specially adapted exhibition space.

Faced with the sensitivity that is required to process a complex and massive event like the one announcing the post-conflict in Colombia, the proposed program of video art, which consists of a compilation of audiovisual projects of Colombian artists from different generations, not only presents a social memory or sequences of fiction, but also constitutes true psychic states that, through metaphors, become valuable documents of a social and human conflict.

In the first instance, video art is a residual material from psychic processes of the spectator, a spectator who we will later call artist. In the middle of the conflict, the artist is a spectator or an actor so fortunate, that he has had time on his hands, time to confront historical and social documents, to record, to appropriate them and set a personal document out of these, a direct and intimate response which emerges as an imperative need expressed by deliberate and experimental actions, as staging and video editing or montage.

In January this year the Government of Colombia announced the initial investment of 470 million dollars in the implementation of the first phase of the post-conflict. This phase has been called “Rapid Response Strategy” and would be implemented by the recently created “Ministry of Post-Conflict”.

We are used to hear statements from military and political language in the news, such as: “Governments should take charge of a -quick response- facing global threats of increasing terrorism and the spreading of the crisis” or “NATO will increase its -Rapid Response Force- up to 40,000 people”. Nevertheless, within the framework of this trascendent, collective event, the function of time expressions like: “Post”-conflict and “Rapid” Response cannot only be assumed as a part of a deep and urgent need to enter a new social state, but, above all in a new psychic state. Perhaps it could offers the possibility of a much less conventional peace than we usually see in the news.

Curated by Julian Santana

[view selected works]

Território, povoação| Blau Projects

by: myartguides

Blau Projects promotes the opening of the exhibition Território, povoação”, a result of its program of incentive for young curators, the C.LAB. The second edition of the program had, as chosen curatos, Gabriel Bogossian and Juliana Gontijo, that exhibit the present show with latin-american artists that question the problematics of the territories of the continent, since colonization until present days. They are: Andres Bedoya, Carlos Guzmán, Julián D’Angiolillo, Victor Leguy and Ximena Garrido-Lecca. Apart from the opening of the exhibition, the gallery launches the thrid edition of C.LAB, a program dedicated to reveal young latin-american curators with a financial aid and that, in 2016 offers, for the first time, an artistic residency in Buenos Aires.

Neoarte.net / Soluções fotográficas para o mercado de arte.

Território, povoação, installation view

In Latin-American history, land problems are recurrent. Since colonization, the disputes for land and its possession are a part of our everyday life, be it in an agricultural, environmental, ethnical contexts or a reflexion of the many favelas in latin-american cities. The exhibition works with this background, with works that approach the issue in various manners of our territories and the narratives that make them”, say curators Juliana Gontijo, a Brazilian who lives in Buenos Aires, and Gabriel Bogossian, a Brazilian who lives in São Paulo.

The name of the project is a reference to the title of an ensemble of classes the French Michel Foucault taught in France in the 1970s, investigating the relationship between the transformations of government ways and understanding of territory. Peruvian Ximena Garrido-Leca presents the video Contornos, from 2014, and shows the archaeology of a pre-Colombian past in a village in Peru contrasting with privatisation operations and mining activities. The dispute between heritage and modernity, tradition and progress, is, invariably, abandonment.

Antropolis, instalation by Argentinean Julián D’Angiolillo, made in 2011, is a project that fabricates an anomalous space neighbour to Tecnopolis, a science and technology fair the Argentinean government built to celebrate the 200 years of the country in Buenos Aires’ suburbs. The works exposes rawly the reality of latin-american suburbs and relativises the development and progress speeches that follow the uncontrollable and monstrous grouth of our metropoles.

Colombian Carlos Guzmán shows the video Colheita, from 2015, that presents a map of the city of São Paulo based on coffee plants found in the streets along two years. The artist becomes a collector of the plants on the ways of the harvestings made in the mountains of Colombia, searching for the best red grains. At the same time, Colombian immigrants enunciate the causes of geographical, social and cultural displacements of Colombian cities in relation to São Paulo.

Neoarte.net / Soluções fotográficas para o mercado de arte.

Território, povoação, installation view

The presence of immigrants in the city of São Paulo is the theme of the installation Irrealidades ficcionais pouco importantes, an original work by Brazilian artist Victor Leguy, made up of drawings, objects and videos with stories that sound almost fictional and testimonies of characters not found in the media.

Río Negro, by Bolivian Andrés Bedoya, made in 2014, part of an ensemble of eight videos that compose the installation with the same name, shows a close-up of Choqueyapu river, with it’s contaminated foam, that crosses the city of La Paz. The river that was responsible for the historical development of the city for it contained large quantities of gold is today considered a great geographical catastrophe. The rivers reflect their surroundings and its political, economical and social conditions.

Neoarte.net / Soluções fotográficas para o mercado de arte.
Território, povoação, installation view

‘A Thousand Visions: Contemporary Video from Latin America’

by: 1After320

1After320 Film Program: ‘A Thousand Visions: Contemporary Video from Latin America’

Oct-Dec
Latin America: David Ayala Alfonso

Defining Latin America beyond its geography and through the lens of culture is a challenge. The attempt to cast the denomination of a region have been recurrent for centuries, and has been closely related to independent processes and narratives. The idea of a Latin America lives in different versions that respond to an equivalent number of ends. There is a Latin America that lives in the political discourse of power that is in tension with other versions of the concept, particularly those in the context of cultural expression be it cinema, visual arts or music. Artists have thus developed discourses that call on an approach in presenting an idea of Latin America that is empathetic to what takes place within communities through nodes and networks of global exchange. Works in the selection potray a complex articulation of identities, filiations and oppositions that produce audio-visual discourse in the different countries of the region. Personal stories mingle with international connections and hybridizations, cultural contingencies and political utterances in depictions of contemporary Latin America.

Artists include: Felipe Steinberg, Carlos Motta, Laura Huertas Millan, Regina Parra, Claudia Joskowicz, Amanda Gutierrez, Carlos Guzman and Ana Tomimori.

1After320_2015_2

Images: 1After320

David Ayala Alfonso is a Colombian curator, artist, and researcher. He works as Editor in Chief for em_rgencia, a peer-reviewed journal on contemporary art. His practice is focused on examining social movements, public policies, education, and media consumption through the lens of arts and visual culture. Ayala Alfonso has published writings on Colombian art history, arts education, independent spaces, performance, and artistic interventions in the public realm. He is also an occasional writer and translator for different academic publications. As part of Group 0,29, he has produced various performances and intervention projects in Colombia and Latin America. Recently, he has been awarded the annual Arts Publishing Prize from the cultural office of the City of Bogota and the Fulbright Grant for Colombian Artists to pursue graduate studies in the United States in 2013

Ciclo de Pesquisas | Gabriel Bogossian e Carlos Guzmán

Por: Casa Tomada

Saiba mais sobre as pesquisas de Gabriel Bogossian e Carlos Guzmán que apresentam hoje às 20h no Ciclo de Pesquisas 2015!

Seguir leyendo Ciclo de Pesquisas | Gabriel Bogossian e Carlos Guzmán