es organizado por/ is organized by.
Camilo Pachón is a Visual artist based in Bogotá, Colombia. He has exhibited his work in Colombia since 2006 and in other countries such as Germany, United States, Spain, France, and Switzerland. His work is an anthropological exploration of contemplative, characterized proposals, in which the viewer is immersed in a universe that goes beyond the image, full of recurring themes, rituals, and spiritual characters. For over 7 years, Camilo has traveled the Caribbean towns and the streets of Barranquilla inquiring about the traditional costumes on the periphery of the city and the spiritual airs as well as the social and cultural implications.
This year, Camilo ́s investigation has expanded to new frontiers besides the Colombian Caribbean coast and over to the recognition of similar cultural practices all around the world with residencies in which he visited places such as the Fasnacht carnival in Basel, Switzerland, the dance of the devils in Costa Chica, México and shortly in Ghana ́s Winneba Fancy Dress Festival.
Currently, in collaboration with Swiss artist Johannes Willi, Camilo Pachón runs Crispr Bogota, an artistic creation space in Bogotá, Colombia, that connects different visions of the world and the rural regions of Colombia, with the local art community. Crispr exhibits the work of international artists developing their residencies in Bogotá, Colombian artists living outside the country, and artists from communities outside the local radar that aim to build connections between the nomadic experiences of contemporary artists and the community, organic, worldviews experiences of the rural areas of Colombia.
Is a Swiss artist that lives and works in Bogotá, Colombia. She is right now confined in Switzerland, in the swiss alps. She works in close relationship with fashion, anthropology, and social media. Her practice connects the online rituals of the “ancestral “like” or “emojis_addict” or “audios_mania” attitudes of isolated ”worldwide web” communities and global exploded networks of ephemeral groups: unknown people or “profiles” collected online.
She works manually creating anachronistic handcraft objects and digitally from her smartphone by painting over reality hybridizing analog and digital filters to create contradictory esthetics shared through a ramification of a multitude of hashtags with personalized names and invented techniques that result from some hyperconnectivity manipulations between hands and cellphone.
Her recent works focus on identity and anthropology within a global system: an “insta-anthropology”.
Therefore, under the hashtag : “#DIAGNOSISISCARNAVAL”, she uses by searching her roots, the Swiss passport, the iconic cross design of the Swiss flag, the costumes of the Swiss guards from the Vatican in Rome as a pretext to “activate or animate” the most detected and “successful” mental disorders of our times such as bipolarity, depression, OCD, cyber addiction (IAD), cf: ”messenger borderline”...incarnated by two allegorical characters (double avatars with masks) that promote the End of the Internet and create, in a spiral, the archeology of the actual stereotypes that surround humanity.
Her whole work is condensed inside a large ramification of hashtags (serial hashtags) that she has been weaving in real-time as rituals or mantras on her Instagram account: @norarenaud_hyperanalogist where, by time, appears the content of visual works and narrations from her own hyper-existence, (the existence of someone in our hyperconnected world), introduced as a cyclic form in a great collaboration between our “Smart devices” and our “Smart us”.
Nora has been showing internationally in various group and solo shows in places such as: Mall en Miami, Bogotá, CO; Espacio Odéon, Bogotá, CO; Mall en Miami, Art Basel, Basel, CH; Galleria Eduardo Secci, Firenze,iT; Galeria Valenzuela Klenner, Bogotá, CO; Alianza Francesa, Bogotá, CO; la Rada, Locarno, CH; Mikro, Zürich, CH; Istituto Svizzero, Milano and Roma, IT; Internet Pavillon, Biennale di Venezia, IT; Museo Museo Macro Asilo, Roma; Maxxi, Roma, IT; Galleria Giacomo Guidi, Altaroma, Roma, IT; Museo del Inverno, Siena, IT; Salon Comunal, Bogotá,CO; Arebyte Gallery, London, GB; Unpainted Art Fair, München, DE; etc...
Juan Covelli is an artist currently living and working between London and Bogotá. A graduate of MA Contemporary Photography; Practices and Philosophies at Central Saint Martins, London, his practice revolves around the technological potentials of 3D scanning, modeling, and printing to readdress entrenched arguments of repatriation and colonial histories. His work has focused on new materiality generated by the digital era; in particular, on the dynamics and approaches of the physical within the digital world. In the last few years, he has been exploring the relationship between technology, heritage, archaeology, and digital colonialism. Using video, modeling, data sets, and coding he creates IRL and URL installation-based works that collapse historical practices with current models of display and digital aesthetics.
Solo and duel shows include: How to dust the surface, Warrington Museum & Art Gallery, Warrington (2018); and Nexcuitilamatl, Galería ADM, Mexico City (2017). As well as group shows, DUOMO in progress, Ep7, Paris, France; Inflexão Wrong Biennale, Sesc, Sao Paulo, Brazil ArteCamara, feria ArtBo, Bogotá, Roca Lunar, Planetario Distiral, Bogota, Festival de la imagen, Manizales (2019); INSIDE INTEL, Centre for Investigative Journalism; New Materialities in the Digital Age, Harlesden High Street Gallery, London; The image of things, Guttormsgaard Archive, Oslo; and Neo Norte, Fundación Cultural de Providencia, Santiago De Chile, Death of the image and the birth of photography, Central Saint Martins Window Gallery (2018); Connecting Columns, Srishti Outpost Mill Hall - Collateral program -Kochi Mu Zhiris Biennale, Kochi and MM/2: Archipiélago, Fuera del círculo, ARTHOUSENTH Gallery, Toluca, (2017) Deep inside, Moscow Biennale for young art (2016)
He teaches at Universidad el Bosque and Pontificia Universidad Javeriana in Bogota and he has been visiting lecturer at the UCL Multimedia Anthropology Lab, London, and was an invited guest artist for the In-ruins residency program. He is the curator the group show of Fake plastic forevers & détournement of digital colonialism, online (2018), and Artificial Nature (2019) at Internet Moon Gallery, And How to inhabit the screen at Espacio Odeón (2020)
María Angélica Madero
Mexican-Colombian artist, researcher and teacher currently working as Assistant Professor in the London Interdisciplinary School, United Kingdom. Maria holds a BA in Art from Los Andes University in Bogota. She also holds two MAs in Art (Sculpture) and Philosophy and Contemporary Critical Theory, from the Slade School of Fine Art, UCL, and Kingston University, Centre for Research in Modern European Philosophy, England. She is currently doing a PhD in Philosophy, Art, and Social Thought from the European Graduate School in Switzerland working with media theory and complexity.
From 2015, Maria was head of the Visual Arts program at El Bosque University, Bogota where she created projects like Multiespecies, that tried to hack the ecological unconscious of students and Prologue, where curators visited the student’s studios. She has taught at Los Andes University, Escuela de Artes y Letras, and Unitec in Bogota, Colombia. She has also worked as an independent photographer and translator and she is also a musician and a writer. Maria has exhibited in cities including London, Edinburgh, Seoul, Sandes, Mexico City, Santiago de Cali, Bogota, Barranquilla, Madrid, Los Angeles, Oslo, Pereira, and Berlin. Her work explores the materiality of language and gestures and includes digital mediums (like virtual reality, 3d modeling, HD video) with a sculptural thought, crossing disciplinary boundaries. She is part of several international collectives like (Play)ground-less, UHIM (Heterogeneous Unity of Moving Images), and No te oigo (contemporary music).
Is a fashion and textile designer, born in Colombia and currently living between Mexico City and the USA. Since 2014 she has worked with Mexican indigenous communities on the professionalization of artisanal work and sustainable artisanal practices.
She is currently the creative director of A Slow Future
Carolina kleine Samson
Carolina Kleine Samson is a user and employee of social media and the internet. She uses digital platforms as spaces for experimentation itself, where interfaces and relationships with other users are used as tools for composition, creation, exchange, and inspiration beyond mere virtual exposure.
Focused on digital landscapes, she takes technology from the physical, beyond technique: using the symbols represented in the daily development of digital interactivity as an influence to generate other communication perspectives where a screen is transformed into the canvas to make paintings screen, using the internet images and videos as reference models.
Carolina focuses her practice on identity, pazworlds (passwords) in connection with privacy, and emotions/cons within social media through the Facebook profile (Sacha Toncovich) a profile in which all people could log into it (public access), where information was continuously provided to log in (username and password) with the aim of creating a collective user, thus questioning the privacy and behavioral parameters set by Facebook, which encourage protection of information for other users and unprotects privacy for companies that these platforms operate. This experience that lasted around 4 years brought the coexistence of several anonymous people from different countries in the same profile, who develop different formats of expression, to build the individuality of anonymity within a collective self.
She participated in several initiatives of fertilized projects in various countries, mostly online, and she created Loading Festival, a digital art festival focused on internet culture in Mana Contemporary Miami, United States.