Admission with payment at the ticket office

In the Gallery: behind the scenes with the MAMM Curatorial team

Guided tour of the exhibitions Bubuia. Aguas como fuentes de imaginaciones y deseos and Señal Abierta. Lenguajes del arte actual to delve into the museography and production processes, alongside Cristina Vasco, Jr. curator, and Andrés Roldán, administrative lead for Curatorial. In this En Sala session, we will unveil the spatial narratives and technical decisions that bring these two visions of art to life, understanding the essential role of museography in mediating between the artwork, the curatorial concept, and the visitor.

About the exhibitions

Bubuia. Aguas como fuentes de imaginaciones y deseos
The Amazon is known for its vast forested areas and its diversity of fauna and flora, but it is the presence of water — from rainfall and its extensive river network — that shapes the region’s imaginary. Adopting not only the word but also the idea of Bubuia. Aguas como fuente de imaginaciones y deseos as the title of the first Bienal das Amazônias is to celebrate the ethical and cultural relationship between the waters and the bodies that move, float, and let themselves be carried within them. This exhibition is an invitation to travel shifting routes, fluctuating tides, where the notions of place, belief, cultural identity, and economic model are profoundly displaced.

Señal Abierta. Lenguajes del arte actual
In 1985, artist and cultural manager Leonel Estrada published the Diccionario de Arte Actual, a glossary of art concepts aimed at educating the general public about developing artistic currents. Señal abierta. Lenguajes del arte actual proposes a review of the MAMM collection and documentary archive based on a selection of concepts drawn from the dictionary, which serve to understand the experimental practices developed in the region during the second half of the 20th century. As a precursor to the dictionary, two printed editions were produced: the first prepared by María Isabel Estrada in 1970 and the second, produced as a supplement for the newspaper El Mundo in 1981. Both circulated during the Medellín Art Biennials and served as a pedagogical tool for the public, broadening the interpretation and understanding of the languages, techniques, and artistic currents of the works presented at the biennials.

IMPORTANT NOTICE
We inform our visitors that during exhibition programming and public events, the Museo de Arte Moderno de Medellín may take photographic, video, and/or audiovisual recordings that could include the image of attendees.

These recordings will be used for institutional outreach, promotion of cultural activities, and documentation of the Museum’s cultural activities, within the framework of its legal functions. Their handling will be carried out in accordance with current personal data protection policies and the guidelines established by the entity.