María José Arjona
Laura Huertas Millán
Más Arte Más Acción
Miguel Ángel Rojas
Luis Fernando Roldán
Ana María Rueda
/Bogotá, Colombia. 1981/
Andrea Acosta works predominantly on research in urban spaces and their relationship with nature. Reflecting on the transformation of matter, gaze and territories, she proposes playful ways of generating knowledge and narratives that challenge our understanding of the natural and urban sphere.
She received a BFA from the Universidad de los Andes in Bogotá Colombia, completed an MFA of Public Art at the Bauhaus Universität in Weimar Germany, and participated in the Goldrausch Künstlerinnenprojekt Art IT Postgraduate in Berlin. Her work has been shown internationally in institutions in Europe, Latin America and Asia, such as the Museum of Modern Art in Medellin (2018), the Rencontres d’Arles in France (2017) and the Gyeonggi Museum of Modern Art in South Korea. She is a recipient of the Uniandino Art Award (Bogotá-2018), of a public art commission from Les Nouveaux Commaditaires (Bilbao) and a residency at Le Pavillon, at the Palais de Tokyo among others.
She lives and works in Berlin.
María José Arjona
/Bogotá, Colombia. 1972/
Formerly trained in contemporary dance, Maria José Arjona graduated from Visual Arts from The Higher Academy of Arts of Bogota (ASAB, 2000). From 2002 to 2017 she resided in New York City where she further developed a practice fully focused on long durational performance-based work.
In her performances, the body functions as a medium to understand philosophical, social, anthropological and political issues beyond the concept of identity. Rich in visual metaphors and gestures, the artist addresses physical and psychological strength as part of her ordeal to transcend notions pain, tension or violence. Along with these ideas, the concept of time as a fluid and material dimension, linked to the notion of duration as process, become critical elements for the artist when creating strategies to interact with her audience.
/Bogotá, Colombia. 1975/
Milena Bonilla's work dives into political complexities among humans, language and living entities in order to trace and map the cracks that those interactions have left in silence through the sedimentation of predetermined logics and beliefs. The artist uses a variety of media in her production including installations, video, performance, drawing, text, public interventions and photography.
Her work has been shown and performed in different international venues including Museo d’Arte Contemporanea MACRO, Rome; Kadist Paris and San Francisco; Rijksakademie van beeldende kunsten, Amsterdam; The Mistake Room, Los Angeles Ca.; Rijksmuseum, Amsterdam; Ar/Ge Kunst, Bolzano; The Jewish Museum, New York; MAMM, Medellín; Spring Workshop in Hong Kong; CA2M Madrid; MNBA, Buenos Aires; The Photographer’s Gallery and the International Institute of Visual Arts in London; Witte de With in Rotterdam; Konstall C, Stockholm; Marrakech and Shangai Biennial’s parallel projects, and the 12th Istanbul, 10th Havana and 3rd Bucharest Biennials. She is currently a recipient of The Work Award Proven Talent, given by the Mondriaan Fonds in The Netherlands.
Since the late 1980s, Stephen Ferry has traveled to dozens of countries, covering social and political change, human rights, and the environment, on assignment for publications such as National Geographic, GEO, TIME and the New York Times. A fluent Spanish speaker, Stephen has developed an understanding of Latin America from over twenty years of covering the region.
Stephen’s first book, I Am Rich Potosí: The Mountain that Eats Men (Monacelli Press, 1999), documents the lives of the Quechua miners of Potosí, Bolivia. His second book Violentology: A Manual of the Colombian Conflict (Umbrage, 2012) has become a referential
work for the study of Colombian history, armed conflict and human rights. In 2018, Stephen and his sister, the anthropologist Elizabeth Ferry, published LA BATEA (Icono/Red Hook Editions, 2018).
Ferry has won honors from the World Press Photo, Picture of the Year, and Best of Photojournalism contests. He has also received grants from the National Geographic Expeditions Council, the Fund for Investigative Journalism, the Alicia Patterson Foundation, the Howard Chapnick Fund, the Knight International Press Fellowship, the Getty Images Grant for Good, Open Society Foundations and the Magnum Foundation.
He lives and works in Bogotá, Colombia.
Stephen Ferry, Juggling at the offices of the Medellin Youth Network
Nadège Mazars is a French freelance photographer based in Bogotá, Colombia since 2007, started photography after receiving her Ph.D in Sociology (2013) and pursuing a graphic design career in the 2000s. Her approach to photography strives to achieve an intimate insight into subjects related to global issues such as migration, the healthcare system or natural resource extraction. Her work also explores the origins of war and the conditions to reach peace in societies such as El Salvador or Colombia. Since 2015, she has followed closely the peace process and the FARC-EP guerrilla in Colombia. And in 2017 she started a long-term project about former gang members in El Salvador.
In 2016, her project The Other Colombia received an Emergency Fund from the Magnum Foundation. In 2017, she was part of the program Adelante IWMF for El Salvador and of the first mentorship program of Women Photographs between 2017 and 2018.
Her work has been exhibited at Pil’Ours Festival (Saint-Gilles-Croix-de-Vie, France, 2018) and ZOOM Photo Festival (Saguenay, Canada, 2016), and screened during Visa pour l’Image Festival (Perpignan, France, 2017 and 2018).
She has worked on assignment for publications and organizations such as The New Yorker, Le Monde, Wall Street Journal, The New York Times, L’Obs, Causette, Les Inrocks, Chronique d’Amnesty International, Handicap International, European Civil Protection and Humanitarian Aid Operations - European Union (ECHO), among others.
She lives and works in Bogotá, Colombia.
Nadège Mazars (January 27, 2016, Putumayo)
A guerrilla is posing with her weapon. As many other guerrilleras, she has a colorful nail polish. Female combatants represent around 40% of the FARC troops.