Activists unfurled a “Strike MoMA” banner at a courtyard in the museum and projected protest messages on the museum’s facade after dark.
MoMA trustee Paula Crown’s husband James Crown, a speaker said, is a director at a weapons conglomerate with ties to violence in Israel, Colombia, and elsewhere.
The government’s usurpation of Salcedo’s Fragmentos installation has been viewed as the latest instance of “artwashing” by the Colombian Ministry of Culture.
Tens of thousands of paintings of animals and humans, made up to 12,600 years ago, were found along the Guayabero River in the Colombian Amazon.
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.
Graffiti artists collaborated to represent the military apparatus that executed thousands of poor farmers, youths, and other civilians. But dozens of military officials and police proceeded to cover the mural with white paint.
The female-forward characters and the matrilineal Wayúu tribe the movie orbits have gone surprisingly under-explored by film critics.
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.
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.