ALLORA & CALZADILLA

The Night We Became People Again

Gallery A1, A2 and the Foundry 

The artist duo Allora & Calzadilla is composed of Jennifer Allora (United States, 1974) and Guillermo Calzadilla (Cuba, 1971), and based in San Juan, Puerto Rico. Their practice, experimental and complex, is based on research and addresses, from a critical perspective, the intersections and complicities that occur between the cultural, the historical, and the geopolitical. The interdisciplinary nature of their interventions and frequent collaborations with professionals from other disciplines are accompanied by an expansive use of diverse artistic media, while their attentive and dynamic approach to art history is made concrete in the sharp observation of the correspondences between the conceptual and the material, the metaphorical and the factual.

ART IN ANTIOQUIA AND THE SEVENTIES

An Interpretation

Gallery B

Art in Antioquia and the Seventies was the exhibition with which the Medellín Museum of Modern Art (MAMM) inaugurated its first venue in the Carlos E. Restrepo neighborhood on April 22, 1980.1 The exhibition was intended not only as a panoramic view of art produced in the decade that had just concluded but, above all, as a summary of art in Antioquia during the twentieth century and the affirmation of the importance of that decade—the seventies—as a watershed in the history of Antioqueño art.

4x10

Sound Explorations of Time

Lab 3

In recent decades, we have witnessed changes in the traditional conception of music that point to a broader notion of sound itself, changes that also represent movements in our relationships to being and time. MAMM invited 10 artists and collectives from Medellín from the fields of experimental music and sound art to reflect on the concept of time through the commission of 4-minute pieces for a multi-speaker system. Together, they make up a 40-minute sound loop that alludes to the Museum's 40-year history.

PROGRAMA C

SANDRA RENGIFO 

The Secret Genie of the Spyglass (Kikkertens Hemmelighedsfulde Aand)

Gallery C

Images that are at once familiar and foreign result from the expansive repertoire of visual operations and museum displays that Sandra Rengifo (Bogotá, 1979) sets in motion in this exhibition. Even so, the complexity of the installation is not associated with unfounded intellectual scaffolding on the part of the artist, but rather with the cumulative weight of the visual cues that make up the narratives and arguments posted in her work.