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Published by: Maria Mercedes Salgado on Mar 24, 2011
Copyright:Attribution Non-commercial


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HOMENAGE In the mid 70’s, the Colombian artist Antonio Caro made the artwork Colombia CocaCola, an enamel

-over-metal painting in which he used the font traditionally assigned to the brand of a famous non-alcoholic beverage to write the name of a Latin-American republic. In relation to this work there is a broad consensus between critique and public with respect to its impact on contemporary art in Colombia. In fact, the influence of this work has been so strong, that during decades there has been a repetition of encounters between works from young artists and the iconographic repertoir of this particular work.

Manuel Barón, La Guerra de las Cocas, 2010. Vynil text on wall After almost 35 years since its appearance, Colombia Coca-Cola has turned out to be one of the most used works by artists and graphic designers when talking about politics of drug control, problems of consumption or commercial penetration of multinational companies. However, its author has frowned upon the fact that his work inspires or serves as a base for other images. Generally, his reaction is that of devaluing, minimizing, or annulling the encounters that some visual producers have established with his work, accusing them of plagiarism, copy or public offense. Based on what I have said, I present to Unsolicited Proposals the project “Homenage”, a group exhibition that puts together unseen works as well as works that have already been exposed in previous exhibitions made by several Colombian artists. This curatorial project aims at examining the critical fortune of the work Colombia CocaCola in the Colombian artistic field, and at the same time, seeks to identify the particular tension that has developed between its author and a group of followers. The reunion of works characterized by citation, appropriation, or reference to the work, will intend to illustrate the contradiction between the rhetoric of one artist who defends the appropriation of images as a creative strategy and an attitude that disapproves this procedure when the images claimed belong to him.

The name “Homenage” tries to propose a play of words between the Spanish “homenaje” (homage) and “menaje” (tribute, pedagogical material of a school) and the French word “ménage” (arrangement). In this sense, it is considered that building an exhibition of objects will work as a memory of a good work of art, the inventory of several types of relations between artists and the case study of a series of strategies of appropriation and its challenge. Some of the works that will be exhibited are the following:

Camilo Turbay, Colombia-Snow/Nieves Perpetuas, 2005 Digital print on canvas

Wilman Zabala Presidente, 2010 Acrylic on wood

Julián Santana Sigue intentando-Juego 1, 2007 Digital Video

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