After decades of inaction, the Colombian government is demanding the repatriation of the ancient sculptures, currently held at a Berlin museum.
The government’s usurpation of Salcedo’s Fragmentos installation has been viewed as the latest instance of “artwashing” by the Colombian Ministry of Culture.
Federico Ríos Escobar documents FARC camps with a keen eye; his images diverge from the government-produced image of the armed forces as a single, one-dimensional enemy.
From photojournalism to conceptual printmaking, visual artists are recording the violence of the ongoing Paro Nacional, or the National Strike.
Plans to restore and paint 2,500 houses in Bogotá’s historical downtown area of Candelaria are clashing with graffiti artists whose colorful murals have transformed the area and brought tourists to the neighborhood.
Informal recyclers are as ubiquitous in Bogotá as the city’s world famous street art, yet for most Colombians, completely invisible.
At the same time that Doris Salcedo’s intervention received unanimous praise from the press, it also drew criticism from local artists and political activists alike.
Yesterday, Bolívar Square turned white in the name of peace. A new site-specific work by Doris Salcedo covers the heart of Bogotá with 7,000 meters of white fabric.
BOGOTA — The 11th edition of ARTBO in Bogota, Colombia, held from October 1–4 at the Corferias convention center, was a sea of abstract and conceptual art.
The National Center for Historical Memory has announced an international competition to design a National Museum of Memory to commemorate the victims of the fighting in Colombia.