For Carmen Argote, Avocados Are a Paint and a Powerful Metaphor

21 de octubre de 2019


‘Walking is my primary process,’ artist Carmen Argote tells me as we stroll through the commercial district of Karaköy, Istanbul. When she arrived four weeks earlier for a residency at Ballon Rouge Collective, the Mexican-born, Los Angeles-based artist began walking aimlessly, sometimes for hours on end, observing mundane details of the city’s urban fabric: corn fibre street brooms, chipped plastic fruit crates, the light dancing on the surface of the Bosporus. ‘A way of understanding how I can connect with the city as a material,’ Argote explains of this dérive, which provided inspiration for her exhibition at Ballon Rouge, ‘Nutrition for a Better Life (Compre Chattara)’. There, a derelict wooden handcart used by one of the city’s many harduci, or scrap dealers, was festooned with knotted blue fishing rope, like the small boats docked on the river’s edge.


Finally, a Biennial That Does Justice to Indigenous Narratives

15 de octubre de 2019

By  Maximilíano Durón | ARTnews

Then there are the Biennial’s educational programs, a major component of the exhibition. I participated in a “Storytelling Tour” on the second public day at the Small Arms Inspection Building, the Biennial’s second main venue in Mississauga, a suburb of Toronto. Our guide, Rebecca Flemister, took us outside the building to collect an object from nature—a leaf, a stick—and then sat us in front of drawings by Abel Rodríguez; an elder of the Nonuya people of Colombia, he depicts his people’s ancestral lands from memory, as they were displaced in the 1990s by armed conflict in the country. We were asked to draw and describe the object we had selected, and we then walked across the room to sit in front of the work of Wilson Rodríguez, Abel’s son, who makes his own drawings based on the knowledge that Abel passed on to him. Our guide asked, “How do we connect to those who come before us?”


ARTBO 2019: Highlighting Emerging Talent

26 de septiembre de 2019

By Cool Hunting

Instituto de Vision remains one of the most well-known contemporary art spaces, and its three women co-founders maintain a global presence beyond ArtBo as they participate in art fairs on an international scale. This year, with a wall installation and sculpture (2019) by Sebastián Fierro, an incredibly fresh photograph by Wilson Diaz from 1994, and two free-standing sculptures (2019) by Tania Candiani, the booth went through three revisions due to sales and was by far one of the most successful at the fair.


Santiago Reyes Villaveces: Proyecto piedra lunar

3 de septiembre de 2019

Por artishockrevista

El proyecto Piedra Lunar del artista Santiago Reyes Villaveces (Colombia, 1986), en el Planetario de Bogotá, construye una topografía de las Piedras Lunares de la Buena Voluntad que interpreta los significados acumulados en torno al gesto de Nixon. El proyecto Piedra Lunar parte del presupuesto de que la recolección de las piedras puede subvertir la concentración de poder y contraponerse a los procesos coloniales que la administración Nixon realizó. El punto de partida del proyecto es un viaje alrededor del croquis de la dispersión de los fragmentos lunares. La materialización de este viaje es una cartografía ficticia que mapea la dispersión de las piedras y las narrativas azarosas que las piedras han adquirido en los diferentes países. El proyecto Piedra Lunarconsiste en presentar esta cartografía ficticia.


Award | Santiago Reyes Villaveces, Matteo Olivero Prize !!!

6 de agosto de 2019

Por ArtNexus

With his project Harp, Colombian artist Santiago Reyes Villaveces has won the 41st edition of the Matteo Olivero Prize, organized by the city of Saluzzo, Italy, and the Fondazione Amleto Bertoni with the aim of promoting the territory through art.



21 de junio de 2019


«Lo Bravo y lo Manso reúne en Instituto de Visión (Bogotá) el más reciente trabajo de Santiago Reyes Villaveces (Colombia, 1986), cuyas preocupaciones giran en torno a temas constantes en el arte como la presencia/ausencia del cuerpo, la materialidad de la obra, la consonancia de los opuestos y, a la vez, se ocupa de interrogar sobre asuntos tan disímiles como el sistema del mundo mineral y su relación con la construcción de la historia sociopolítica de Colombia.»