https://here-now.nl HERE/NOW Thu, 26 Nov 2020 19:34:18 +0000 https://here-now.nl en https://here-now.nl/HERE-NOW-1 Thu, 26 Nov 2020 19:34:12 +0000 HERE/NOW https://here-now.nl/HERE-NOW-1 body { cursor: url("https://freight.cargo.site/t/original/i/a0153dec769cb5b162f41ddab47f95e6d5a3eb411b3040447d48ff9ac79f041c/cursor_body_red.png"), auto !important; } HERE/NOW CURRENT VISIONS in contemporary art and photojournalism from Colombia /&nbsp;ABOUT / /&nbsp;CURATORS / /&nbsp;ARTISTS / /&nbsp;PARTNERS / / VISITOR INFORMATION / 07.03.2019 - 30.06.2019 HERE/NOW CURRENT VISIONS in contemporary art and photojournalism from Colombia /&nbsp;ABOUT / /&nbsp;CURATORS / /&nbsp;ARTISTS / /&nbsp;PARTNERS / if (window.innerWidth > 900) { var doc = window.document, context = doc.querySelector('.js-loop'), clones = context.querySelectorAll('.is-clone'), disableScroll = false, scrollHeight = 0, scrollPos = 0, clonesHeight = 0, i = 0; function getScrollPos () { return (context.pageYOffset || context.scrollTop) - (context.clientTop || 0); } function setScrollPos (pos) { context.scrollTop = pos; } function getClonesHeight () { clonesHeight = 0; for (i = 0; i < clones.length; i += 1) { clonesHeight = clonesHeight + clones[i].offsetHeight; } return clonesHeight; } function reCalc () { scrollPos = getScrollPos(); scrollHeight = context.scrollHeight; clonesHeight = getClonesHeight(); if (scrollPos = scrollHeight) { // Scroll to the top when you’ve reached the bottom setScrollPos(1); // Scroll down 1 pixel to allow upwards scrolling disableScroll = true; } else if (scrollPos https://here-now.nl/about Thu, 26 Nov 2020 19:34:15 +0000 HERE/NOW https://here-now.nl/about #site_menu_button { color: black !important; } About Listening to artists is often the best way to understand a country. In the words of curator and art critic Hans Ulrich Obrist: “If there was ever a time that the world needed artists, it is now. We need their radical ideas, visions, and perspectives in society.” We live in a time of transitions: in society, technology, environment, migration, and economy. HERE/NOW presents these transitions through art.&nbsp;Our first edition presents artwork from Colombia. HERE/NOW #1&nbsp; HERE/NOW: Current Visions from Colombia features twenty artists presenting contemporary art and photo journalism created in the context of Colombia. The exhibition explores these artists’ responses to the shifting cultural, social and political landscapes of a country scarred by a 60-year long history of armed struggle and includes a selection of powerful photographic images that document it. The exhibition is presented partly at Framer Framed, with a focus on contemporary works, and partly at Beautiful Distress House, where photojournalism plays a more significant role. HERE/NOW speaks of a time and place faced with the paradoxes of social conflict. By mixing the metaphorical languages of art with the more direct stance of documentary photography, the exhibition seeks to bring nuances and complexity to the understanding of the experience of life and art in the context of social conflict. The different visions featured in HERE/NOW confirm the potential that visual culture has in Colombia as a form of resistance and questioning and the crucial role it plays in building a memory of the present. The traveler, the displaced, living in isolation. Having no safety or security in your own country, living in turmoil. Making transitions – literally and figuratively. By offering artists a platform, HERE/NOW presents these transitions, makes them visible, and opens them up for discussion. HERE/NOW also introduces the power of documentary photography, grounding the viewing experience with compelling images of the armed struggle. This additional component of the exhibition, for which Carolina Ponce de León collaborated with non-fiction photographer Stephen Ferry, will consist of the presentation of Violentology, a visual anthology of the armed conflict by Ferry, in addition to photography by other journalists who have captured the Colombian conflict and the aftermath of the peace agreement settled between the Colombian government and the FARC (Revolutionary Armed Forces of Colombia) in December 2016. These photographic selections are not meant to present a complete picture; rather, specific visual testaments of that experience. Exhibition The exhibition brings together both established and upcoming artists, revealing how artistic perceptions on the country’s history of political violence have shifted between generations. The artworks on view at Framer Framed, mainly by artists who came of age artistically in the 1980s and early 90s, can be characterized by the use of conceptual and metaphorical languages to speak of the human cost of the Colombian conflict. These are works that tend to be formally subtle, austere, imbued with a sense of mourning. A highlight is the installation Narcisos by Oscar Muñoz that uses ephemeral materials to relate to memory, loss, and the precarious nature of human life. Muñoz, a recipient of the Prince Claus Award in 2013, is one of the most significant contemporary visual artists in his country and whose work has gained solid international recognition in recent years. In contrast, the works presented at BDH, primarily by a younger generation of artists who emerged in the local art scene in the last decade, tend to exhibit perspectives that are more critical and cynical in tone and in which humor and irony are meaningful tactics. These works look less at the traumatic effects of political violence and more at the role the media plays in defining the symbolic order that represents the war. The disparities in approaches and languages that rise between the two parts of the exhibition evoke the ungraspable nature of Colombian reality. Debate Series HERE/NOW #1 presents an international debate series between participating artists, the curators, and other specialists (journalists, historians, philosophers) who, through dialogue and discussion, will address the role of the artists in critical times. The debate series seeks to draw attention to social and political transitions like the one in Colombia, which is inevitably connected to a worldwide crisis burdened by a growing number of refugees (Colombia has the second highest number of internally displaced persons in the world), local and international migrations, environmental and natural catastrophes, among many other forms of social and economic inequities. The debate series aims to address questions directly related to Colombian art such as: What does it mean for an artist to practice art in times of armed conflict? How are artists engaged with the current transition from armed conflict to peace? To what extent can their work make a critical contribution to future change? Can an artwork stand independently from its context? Can social reality and the artist’s imagination be separated? https://here-now.nl/curators Thu, 26 Nov 2020 19:34:15 +0000 HERE/NOW https://here-now.nl/curators body { cursor: url("https://freight.cargo.site/t/original/i/a0153dec769cb5b162f41ddab47f95e6d5a3eb411b3040447d48ff9ac79f041c/cursor_body_red.png"), auto !important; } Curators /Carolina Ponce de León/&nbsp;HERE/NOW Curator Carolina Ponce de León is a renowned curator and critic in the visual arts. She has served as the Visual Arts Advisor at the Ministry of Culture, Director/Curator of Visual Arts at the Luis Ángel Arango Library, and Curator of the Museo del Barrio in New York, among other functions. As an art critic she has published columns in well-known Colombian newspapers, and articles in international academic publications. She was Director/Curator of Visual Arts at the Luis Ángel Arango Library (1984-1994) where she launched and curated the New Names program, which was instrumental in defining the art of the new artistic generations of the eighties and nineties, and curated seminal exhibitions like Ante América (together with the Cuban curator Gerardo Mosquera and the American Rachel Weiss). She was curator of the Museo del Barrio in New York where she curated the retrospective exhibit Beatriz González: What an honor to be with you in this historic moment (1998), as well as Artistic Director of the Galería de la Raza in San Francisco (1999-2011) where she curated Viology: Violence of Culture / Culture of Violence (2003). Her most recent curatorial project was La Vuelta: 28 contemporary photographers and artists from Colombia featured in Les Rencontres de la Photographie, in Arles, France and Faire Face: Beatriz González and José Alejandro Restrepo at the Musée d’Art Contemporain Le Carré d’Art, in Nîmes, France. Along with Santiago Rueda, she is curator of the current presentation of the Contemporary Art Collection of the Banco de la República. Her curatorial projects have earned the recognition and support of the National Endowment for the Arts, Washington, D.C.; The Andy Warhol Foundation for the Visual Arts, New York; the Creative Work Fund, San Francisco; the California Arts Council, Sacramento; the National Association of Latino Arts &amp; Culture, San Antonio; and The San Francisco Foundation, San Francisco. As an art critic she has published weekly columns in the most widely circulated newspapers in Colombia, El Tiempo and El Espectador. She is the author of El Efecto Mariposa: Ensayos Críticos sobre arte y cultura en Colombia 1985-2000 (IDCT, 2004); Jesús Abad Colorado: Mirar de la Vida Profunda (Paralelo 10/Editorial Planeta, 2015); y Roldán (Villegas Editores, 2014), as well as essays in anthologies edited by MIT Press (Cambridge), INIVA (London) and the New Museum of Contemporary Art (New York); and articles and reviews for catalogues and specialized magazines, such as Art in America (USA), Art Nexus (Colombia), Bomb Magazine (USA), Parkett (Zurich) and Polyester (Mexico). She has been a professor in graduate programs in Visual Criticism and Curatorial Practices at the California College of the Arts in San Francisco. She lives in Bogotá, Colombia. /Stephen Ferry/ Ojo Rojo Fábrica Visual, curator documentary photography component with Carolina Ponce de León&nbsp; 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. /Simone Swildens/ Organizer, Research and writer HERE/NOW Simone Swildens is an independent curator, initiator, and concept writer based in Amsterdam, Netherlands, who organizes exhibitions in the Netherlands and abroad. Since 2001, she has been the director of Artiful, dedicated to the promotion of authentic Aboriginal art. From 2005 to 2015, she was the founder, chairman and curator of Stichting Art in Redlight, an annual multidisciplinary recurring platform under the name Art in Redlight, held in the Old Church in Amsterdam. As from 2013, Art in Redlight took place in their new home the Beurs van Berlage in Amsterdam. Art in Redlight —nowadays known as www.thisartfair.com— aims to present and sell the work of individual artists, both established and emerging, connected or unrelated to a gallery or collective, within a professional setting. The Foundation supports artists as well as their entrepreneurship. In 2015, Art in Redlight was handed over after ten years to a young team since they will do the same after a period of ten years. https://here-now.nl/Artists Thu, 26 Nov 2020 19:34:16 +0000 HERE/NOW https://here-now.nl/Artists body { cursor: url("https://freight.cargo.site/t/original/i/1a330fa5c4cf4d9d88d30db4af994983dfe05f4fddce5a622254241ff577fa06/cursor_body_red.png"), auto !important; } Visual Artists Andrea Acosta María José Arjona Milena Bonilla Fabio Cuttica La DecanaturaWilson Díaz Clemencia Echeverri Nadia Granados Laura Huertas Millán Más Arte Más Acción Guillermo Moncayo Oscar Muñoz Diego Piñeros Miguel Ángel Rojas Luis Fernando Roldán Ana María Rueda Yorely Valero Carlos Villalón Photojournalists Stephen Ferry Nadège MazarsCarlos Villalón https://here-now.nl/Andrea-Acosta-1981 Thu, 26 Nov 2020 19:34:16 +0000 HERE/NOW https://here-now.nl/Andrea-Acosta-1981 Andrea Acosta/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. Andrea Acosta, Mechanism to Raise a Tree Again (2018)&nbsp; https://here-now.nl/Maria-Jose-Arjona-1972 Thu, 26 Nov 2020 19:34:16 +0000 HERE/NOW https://here-now.nl/Maria-Jose-Arjona-1972 María José Arjona/Bogotá, Colombia. 1972/ Arjona’s research-based practice focuses on generating questions and translating them into visual compositions that function as platforms where the body (both the performer’s and the audience’s) is promoted as a force, continuously re-shaping the way we perceive our surroundings within a horizontal structure of power. 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. María José Arjona,&nbsp;Right at the Center there is Silence&nbsp;(2011) https://here-now.nl/Mazars-1 Thu, 26 Nov 2020 19:34:17 +0000 HERE/NOW https://here-now.nl/Mazars-1 Nadège Mazars, Between Peace and War&nbsp; (2016) https://here-now.nl/Milena-Bonilla-1975 Thu, 26 Nov 2020 19:34:17 +0000 HERE/NOW https://here-now.nl/Milena-Bonilla-1975 Milena Bonilla/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;&nbsp; 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. Milena Bonilla, Money (2012) https://here-now.nl/Fabio-Cuttica-1973 Thu, 26 Nov 2020 19:34:18 +0000 HERE/NOW https://here-now.nl/Fabio-Cuttica-1973 Fabio Cuttica/Roma, Italy.&nbsp;1973/ Fabio Cuttica is a documentary photographer based in Bogota, Colombia, who grew up in Colombia and Perú until his teenage years. Since 2001, he has focused most of his work in Latin America, documenting social, cultural, health and human rights issues. During the last years, he has been developing “Tierra Herida” [Wounded Land], a long-term project that documents the slow road to peace as well as the impact and consequences that the over sixty-years armed conflict has had on the Colombian civil population. He lives and works in Bogotá, Colombia. Fabio Cuttica, Nasa Indian (2016)&nbsp; https://here-now.nl/La-Decanatura Thu, 26 Nov 2020 19:34:18 +0000 HERE/NOW https://here-now.nl/La-Decanatura La Decanatura Elkin Calderón &amp; Diego Piñeros/Bogotá, Colombia. 1978 &amp; 1981/ La Decanatura is an artist collective that develops artistic projects that generate new approaches to art from hybrid perspectives and disciplines, questioning hegemonic forms of knowledge and power. La Decanatura has been interested in displacement as a metaphor to be able to meet other realities, as well as to create links between memory and the ruins of the past. Through the audiovisual medium, they establish poetics of time and space, playing with narratives that produce dislocations and alterations that lead to new readings of reality. La Decanatura has been awarded various grants for the development of art projects such as the COINCIDENCIA Pro Helvetia Residency Program in Villa Ruffieux, Switzerland, 2018/ 2019; the National Scholarship for science, art, and technology labs in Plataforma, Bogotá, 2017. The group has participated in important video festivals such as Les Rencontres Internationales Paris / Berlin (2018), VideoBrasil (2017) , Experiments in Cinema, New Mexico (2016). Also, in The Regional Artist Salon - Zona Centro (2015) and the National Artists Salon (2016). The collective presented a solo exhibition “Caja Negra” (2017) at MAMM (Museum of Modern Art of Medellin) and is nominated to the Luis Caballero Award (2019). Its work “Centro Espacial Satelital de Colombia” (Colombian Satellite Space Station) received an award at the Videobrasil festival in 2017 and is part of the permanent collection of the Banco de la República in Colombia and the Kadist Collection, San Francisco. Both members of La Decanatura live and work in Bogotá. La Decanatura, Satelital Space Center de Colombia (2015)