From 02 de October 2024 al 16 de February del 2025
Artists and collectives: Grupo Março, Marta Minujin and Leopoldo Maler, Yeni y Nan, Carlos Echeverry, Antonio Caro, Gloria Gómez Sánchez, Grupo CADA, Teresa Burga and Marie France Cathelat, Felipe Ehrenberg, Álvaro Barrios, Álvaro Herazo, Alfonso Suárez, Antonio Iginio Caro, Delfina Bernal, Eduardo Hernández, Gilles Charalambos, Ida Esbra, Jonier Marín, Jorge Ortiz, Rosa Navarro, María Evelia Marmolejo, Sandra Llano-Mejía, Carlos Zerpa, Luis Villamizar, Carmela Gross, Anna Bella Geiger, Pedro Terán, Claudio Perna, Diego Barboza, Emilio Hernández Saavedra, Lotty Rosenfeld, Magali Lara, Julián Posada, María Rodríguez, Jorge Eduardo Eielson, Marco Antonio Ettedgui, Yvonne von Mollendorf, Rolando Peña, Cildo Meireles, Equipo TRansHisTor(ia), No-Grupo, Polvo de gallina negra, Adolfo Bernal, Grupo Proceso Pentágono, Signo x Signo, Antonio Días, Ulises Carrión, Alonso Castrillón, Rodrigo Castaño, (Hersúa, Helen Escobedo, Federico Silva, Sebastián, Mathias Goeritz), David Escobar and Ana Sofía Buriticá, Wallace Masuko and Ana María Montenegro.
Some of these debates addressed the tensions between the avant-garde and underdevelopment, the relationship between art and popular culture, the aesthetic explorations that led to what we know today as contemporary art, the identity searches around Latin Americanness, the urban transformations triggered by migration from the countryside to the cities, or the role of technology and mass media in new social configurations and their aesthetic correlates. Contrary to what is believed, non-objectualism was not a denominative expression from Latin America for what was known in the hegemonic centers of the Northern Hemisphere under the label of conceptual art. It was a term that had at its base the search for what Acha called an independent visual thought, that is, a type of visuality that looked at local reality while rethinking the participation and presence of the public through different sensory mechanisms.
Non-objectualism brought together languages as heterogeneous as geometrism, political graphics, environmental art, action and process art, walkable sculpture in public spaces, ephemeral experiences, the use of mass media, conceptual attitudes, and the articulation with technology. These new forms of social participation in the visual arts modified conventional forms of production, distribution, and consumption, something that, for Acha, was fundamental given the need for a change in mentality capable of leading to a transformation of sensibility and thus achieving political change.
This exhibition presents a rereading of the long seventies in Latin America—an era that begins from the middle of the previous decade and extends to the early eighties—marked by strong rethinkings within the artistic field. The works presented here invite us to look at this time period from coordinates that recover the specificity of its debates and the historical moment they traversed. Humor, political denunciation, play and the ludic, the dissolution of art into everyday life, or the urban experience as a symptom of new subjectivities were issues that directly challenged the social reality of our region.
It is common to find in this selection of works critiques of colonialism and American intervention, the demand for ecological awareness, connections with feminisms, or articulations with popular struggles. Thus, the exhibition traces productions that were present in the formulation of the term at the beginning of the seventies, but follows its genealogy to one of the moments of greatest agitation of non-objectualism: the First Latin American Colloquium on Non-Object Art and Urban Art, held precisely at the Museo de Arte Moderno de Medellín in 1981. In addition to including some pieces that form part of the itinerary of the term, first in the thought of Juan Acha and then in the regional perspectives of art criticism that converged at the Non-Object Art Colloquium, the exhibition attempts to extrapolate the term to other works of the period that could well dialogue with the perspective proposed by non-objectualism as a form of visual emancipation.
Click on Amorosamente excluyente and discover this work by artist Wallace Masuko, which is part of the exhibition.
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Apoya
