Casas Riegner / Espacio El Dorado / FORO.SPACE /
Galería El Museo / Galería Sextante / Instituto de Visión /
Jenny Vilá / LA Galería / Lokkus /
Nueveochenta / SGR / Sketch /
To celebrate the Colombian art scene, mor charpentier invites twelve galleries to share the passionate talent of the country
I ♥ Colombia
mor charpentier’s relationship with Colombia and its art scene has been fundamental since the very beginning. An upcoming opening of a gallery space in Bogotá’s Barrio de la Magdalena, make us feel even closer to this country that we can properly call our second home. Ahead of this event, we want to celebrate Colombia’s artistic scene with a collective show —in collaboration of a group of Colombian galleries— in our Online Viewing Room.
The project aims to highlight the diversity and richness of their programs through a selection of works by Colombian artists —both established and emergent—, creating links that will draw attention to the multiple artistic proposals the country has to offer. The choice enhances the multiplicity of languages of the artistic scene of Bogotá, Cali and Medellín.
The first group of works analyses these artists’ experiences with landscape, local territories and their own imagination. Juan Fernando Herrán, Javier Morales Casas and Angelica Zorrilla’s practices question the possibilities of the image and the representation of reality, as an action that requires both strength and discernment among the visual realm. On a correlative note, Miguel Ángel Rojas and Iván Navarro explore homoerotic and queer iconography and representation, creating spaces in which the subjects deal with anonymity and pleasure. Their works give in to the voyeuristic gaze as a way to connect with the protagonists of the scenes and built alternative communities.
Juan Manuel Echevarría and Jorge Julián Aristizábal explore ways to represent Colombian violence in understated ways, defying an often normalised view on the subject that treats the violent history of the country as a common theme. With a parallel historiographic approach, Carlos Castro questions iconographic elements related to heroes in order to deform their images, forming a contemporary discourse around them. Gonzalo Fuenmayor, on the other hand, analyses in his large scale drawings the links between the Caribbean city of Barranquilla and the United States, where he lives and works. In a similar way, Julieth Morales explores her own story and personal practices without exoticizing her indigenous origins, but presenting them in formats where the body is a transversal subject.
Finally, Carolina Caycedo and Adriana Martinez examine representation of Colombian and Latin American common places as visual elements that can be dissected according to their value. Their works assess the ecological consequences of some constructions and productions that have taken place in recent years.
These works reference a multiple network of situations around urban, contemporary and personal experiences that intertwine official narratives with subjective experiences and memories, exploring ways of resistance through different media. They create a visual ensemble, filled with poetic tension and beauty, just like Colombia, a bustling country where all sorts of lives can happen at once.
We are extremely thankful to the galleries and the featured artists —Miguel Ángel Rojas, Julieth Morales, Adriana Martinez, Gonzalo Fuenmayor, Juan Manuel Echevarría, Carolina Caycedo, Angelica Zorrilla, Carlos Castro, Jorge Julián Aristizábal, Juan Fernando Herrán, Iván Navarro and Javier Morales— for their talent, energy and precious collaboration.
Nueveochenta opened its doors in March 2007 as a space dedicated to the diffusion of contemporary Latin American art, maintaining special emphasis on the plastic and commercial consolidation of a group of artists at both local and international level. In addition, it seeks to expand its reach through links with major international galleries for the exchange of artists and proposals.
The gallery includes additional projects, such as interventions in The Patio and exhibitions in the Projects Room – two spaces in which artists who are not represented by the gallery are able to present their work. In its physical space, the gallery also incorporates a Documentation Centre, which is open to members of the public interested in texts about the history and theory of art.
The project aims to maintain the basic roles of a gallery and understands that accompanying the careers of the represented artists is a very important mission, as is the role of the space as a generator of tools for the consolidation of their proposals.
Juan Fernando Herrán
Juan Fernando Herrán (Bogotá, 1963) focuses his artistic practice on the phenomena, both real and imaginary, that have marked the construction of the historical account in Colombia. He is interested in the symbolic dimension of the images, objects, spaces and materials that make each local context a unique semiotic universe. Using photography as a starting point, Herrán documents these elements to highlight their narratives and constructs, through sculpture and installation, new plastic and interpretative possibilities.
His work can be found in collections as those of the Tate Modern (London), the Cisneros Collection (Caracas), the Jumex collection (Mexico City), the Fundación Arco (Madrid) and the Banco de la República de Colombia (Bogotá), among others. He has participated in the V Havana Biennial (1994), the XXVI Sao Paolo Biennial (2004) and the LIV Venice Biennial (2011) and was the winner of the Fifth Commission of the 2014 Prix Pictet prize awarded by the Pictet Group (Geneva, Switzerland) with the theme of Consumption.
He lives and works in Bogotá.
Roca blanda, 2016
Juan Fernando Herrán
SGR Galería is an art space that has dedicated itself to foment and diffuse contemporary artistic proposals originating in Latin America. We wish to present to our audience an approach to contemporary art that dissociates itself from over-intellectualized discourses, aimed specifically to a specialized audience. Through an exhibition program that is installation and site-specific oriented, the gallery thrusts its artists into realizing large scale spatial interventions that play and reconfigure the architectural composition of the gallery’s space.
Thanks to this strategy, SGR has been able to challenge preconceived ideas about the traditional forms of exhibition considered appropriate in commercial contemporary art venues, while defying its artists to expand the limits of their personal practices. Finally, this method emphasizes the importance that lies in the relationship between visual arts and architecture: How art inhabits and transforms the spaces we live in.
Natagaima (cielo nocturno)
Javier Morales Casas is a bachelor in fine arts from Javeriana Pontifical University in Bogota, Colombia. He is a painter and ceramist, and his processes surge from the strong experience of observing life in the country from a distance. He is afraid of emptiness, and states it so because he believes that the expressive is generated as a counterweight of what is not. His paintings are made on discarded pieces of wood that he finds in the trash, while walking or even floating on the ocean. He is interested in the austere and precarious, his motifs and the search for his pictoric style come from a syncretism between Colombian primitivism, Haitian Vudu painting and figuration in ancient Egypt as well as Persian miniatures.
His most recent shows include: Transubstanciación: de lo vivo al objeto, 2015-2021. Regional Image IX, Bank of the Republic, lbagué (CO); Abrir monte: Relación de aspecto, Galería Santa Fe, (CO); Fetiches, 500 años despues, SGR Galería, Bogotá (CO); Pintura inmortal, Galería El Museo, Bogota, (CO); Interior I Exterior, intercambios en epoca de pandemia. Regional Image IX, Bank of the Republic (CO), and COSMORAMA, ARTBO, Bogota International Art Fair, Bogota Chamber of Commerce Exhibition Room, Bogotá, curated by Liliana Sanchez. (CO).
Canaan, al fondo las nevados del Tolima, del Ruiz y de Santa Isabel, 2019-2021
Since its founding in 1987, in the city of Cali, Jenny Vilá Gallery exhibits, promotes and spreads the Colombian contemporary art. The exhibitions and artists shown during these years are a good sample of the Colombian art over the past three decades. The gallery also provides consultancy for the acquisition of works of art. The headquarters of the gallery is a three-story house next to the Cali River. The gallery produces four annual solo exhibitions with artists as part of its catalog, alternating with four other exhibitions of projects by emerging Colombian artists.
« The drawing has been the insistence of those who have stopped on small paper surfaces seeking to build a trade, a craft in which will and contingency coincide. Thinking through the task, the actions and the experience lived at the time of the execution of the image, the relationships that are established between the tools, the paper, the hand that executes, the strength and the gaze during the creation process, has allowed her to develop a body of work as a cartoonist and as a university professor, to investigate through what happened in the individual and collective learning processes. It explores and transits vital drives of enormous magnitude within the human sensory experience such as melancholy, estrangement, love and infatuation among others, as well as geometric projections where he speculates and plays with the replica, have crossed like tremors that mobilize series of drawings or well you take of the space through graphic reproduction where the minimum, the miniature and the poetry, the words, take place. »
–Angelica Zorrilla (Cali, Colombia, 1980)
Casas Riegner was established in Miami in 2001. In 2004, after achieving an important position within the Miami art world, the gallery embarked on a challenging project: the promotion and dissemination of contemporary art within Colombia and abroad. In March 2005 the gallery opened its doors in Bogotá, thus developing an ambitious gallery project that focuses on research and artist selection with a clearly defined curatorial approach.
Promoting emerging and established artists that have significantly influenced the development of local contemporary art, Casas Riegner’s program aims at introducing new artists to local and international audiences, at periodically inviting foreign artists and leading curators, to provide a space for cultural exchange and novel discourse production. The program has been structured with the intent of presenting exhibitions with a high conceptual rigor and formal innovation that act as manifestations of reflective processes.
A regular at some of the world’s leading art fairs like Art Basel Miami Beach, Art Basel, Frieze London, and Frieze New York, Casas Riegner has been committed to encouraging the circulation and exchange of Colombian art on an international level for which it has quickly earned a reputation.
Los Planetas, 1979-2018
Miguel Ángel Rojas
Miguel Ángel Rojas (Bogotá, 1946) occupies a central place within Colombian art. He studied Architecture at Universidad Javeriana and Art at Universidad Nacional de Colombia. With a career spanning more than 50 years, Miguel Ángel Rojas’ practice reflects on topics like marginality, gender, identity, injustice, double standards, the loss of values, drug trafficking and war. In the late 1960’s, driven by a personal pursuit and seduced by photography’s technical qualities, Rojas began to explore the medium until adopting it as one of the ideal techniques to critically look at his own context and his difference from the norm. The freedom that came with venturing into working with unaccepted themes and artistic materials, prompted the artist to approach engraving, drawing, painting, video, photographic reductions, and installation in highly innovative ways.
His most recent exhibitions include: Regreso a la Maloka, Museo de Arte Moderno de Bogotá, Colombia. 2021; El Jaguar y la Mariposa, Museo Nacional de Colombia, Bogotá, Colombia. 2019; HERE/NOW current visions from Colombia. Framer-Framed. Amsterdam, Netherlands. 2019; Tierra de / Por medio, Museo de Arte Miguel Urrutia – MAMU. Bogotá, Colombia. Urban Impulses: Latin American Photography 1959-2017. Photographer ‘s Gallery, Londres, United Kingdom. 2019; Una y otra vez las tardes suspendidas, Casas Riegner, Bogotá, 2018-2019; Proregress, 12th Shanghai Biennale, China, 2018; Le bruit des choses qui tombent, FRAC PACA, Marseille, France, 2017; HOME — So Different, So Appealing, LACMA, Los Angeles, USA, 2017; 20th Sydney Biennale, Australia, 2016; Contingent Beauty: Contemporary Art from Latin America, MFAH, Houston, USA, 2015; Rights of Nature, Nottingham Contemporary, Nottingham, England, 2015; Unas de cal y otras de arena, Museo Nacional de Artes Decorativas, Madrid, Spain, 2015; Selva Cosmopolítica, Universidad Nacional de Colombia, Bogotá, Colombia, 2014; Negocios grandes y pequeños, Casas Riegner, Bogotá, Colombia, 2013.
Heath Ledger/Fuego Verde, 2018
Miguel Ángel Rojas
SKETCH Gallery opened its doors in San Felipe Art District, acting as a platform and exhibition space for emerging contemporary art. Today all forms of art have expanded and drawing has become a fundamental and autonomous art form. Our interest lies in investigating the relationship(s) that can be constructed between drawing and other media and so think about the expanded nature of a SKETCH. The count with more than 350 square meters of exhibition space
De la Serie: Pieles III, 2019
Drawing and language are at the centre of Iván Navarro‘s practice. Rigorous cartoonist, collector and archivist of anecdotes and stories that he treasures. He investigates the ways of representation and construction of cultural archetypes and their impact on society and the human psyche.
His natural ability to enter and irrupt the intimacy of the other with his gaze, allows him to contruct narratives that are transgressive and yet humorous. Questioning the status quo with his naive , absurd and cute drawings grants him the freedom to point out social dilemas.
He has been nominated to the prestigious XI Luis Caballero price (Premio Luis Caballero) and will show his project Mancha Roja in 2022 at Galería Santa Fe, Bogotá- Colombia, Aron Cezar invited him to participate in the curated proyects section of Artbo in 2019 with the support of SKETCH Gallery, He is included in Vitamin D3: Today’s best in contemporary drawing book (2021), Taschen, He collaborated with Liz Caballero in an editorial proyect with ended in the publication of the book Dos Barrios Unidos: Fenomeno San Felipe Distrito de Arte, edited by Plural Nodo Cultural and Taller Agosto, Bogotá ISBN 978- 958- 52998- 2- 5 . His works have been placed private collections in the UK, USA and Colombia and Latin America. His work is included in the permanent collection of The Museum of Modern Art of Bogotá, MAMBO.
Soy Voyerista V, 2016
Galería Sextante founded in 1981 by María Eugenia Niño and Luis Ángel Parra, regularly accompanies and exhibits the work from a select group of contemporary Latin American emerging and midcareer artists. The Gallery operates as an analytical space that allows the public to perceive, think and deepen into a constellation of artistic project proposals.
In its headquarters in Bogotá, inside two old houses next to now disappeared Lake Gaitan, the gallery offers two thematic and three permanent exhibition rooms, a projection saloon, an artist’s book library, a graphic works showroom and the Arte Dos Gráfico workshops: engraving, woodcut, silkscreen, lithography, offset, digital photography, analogue photography, wood and lead typography, bookbinding and framing. Additionally, Sextante has a documentation center and libraries specialized in art, poetry, literature, geography, history and politics of Latin American countries for the use of artists in their artist-in-residence program.
Silencio Santa Cruz de Mula (Bolívar, Colombia), 2014
Juan Manuel Echevarría
Juan Manuel Echevarría
I was born in Medellín in 1947. Coincidence or not, my personal history runs parallel to the violence in Colombia. Since the year of my birth, the country has never known long-lasting peace.
In 1995 my creativity with the written word entered a crisis. It was then that my friends Ana Tiscornia and Liliana Porter encouraged me to replace the pen with a camera. After my first series Portraits, I started using art to research violence in Colombia. Twenty years of research, a short time to explore such a deep-rooted tragedy, have pushed me to leave my studio in Bogotá and to wander into some of the remote areas devastated by war.
These photographic journeys have allowed me to meet and listen to the stories of the campesinos who have experienced the horrors of war firsthand. I have been able to see their homes, meet their families, feel their hospitality, see their animals and realize the state of abandonment in which they live. Through the foundation Puntos de Encuentro (2006), scholarships are granted to some survivors of the war who are determined to enter university and change their realities. Through art, the foundation also rescues memory from oblivion promoting painting workshops with ex- combatants (2007–2009)
Silencio silencio (Zabaleta, Caquetá, Colombia), 2017
Juan Manuel Echevarría
The commitment of the Lokkus gallery has been the development of projects that stage the complexity of the contexts and the historical and memory layout, both of art itself and of human experiences in all its dimensions. With the conviction that art has an impact on the transformation of societies, it has implemented initiatives that transcend the exhibition space and that allow audiences to approach contemporary artistic production. One of its central purposes is to strengthen the circulation and consumption – symbolic and commercial – of works of art whose formal and conceptual values respond precisely to what is indicated in the previous lines.
This circulation implies the activation of sales and the contribution to the consolidation of buyers and / or collectors who are knowledgeable about artistic production and the importance of their work in promoting consumption that is as passionate as it is conscious. The initiatives of the Lokkus gallery are supported by curatorial and research work that is the fundamental basis for the selection of artists, works and projects that are undertaken in the various scenarios of the medium.
Colombia Diversa, 2021
Jorge Julián Aristizábal
The work of Jorge Julián Aristizábal is difficult to classify due to its deliberate technical and stylistic diversity. The artist himself has afirmed that “he avoids cultivating a style or a de nite form of expression at any cost,” since, for him, reproducing a style, whatever that might be, would mean cheating life itself, which is in a constant change. It would mean “cutting the roots and creating the death” of his own work and way of thinking.
Perhaps the only constant in his work is his insistence on drawing, which has had a dominant role in the Colombian art world of the past decade. He is an artist who is always attentive to language games: those that violently inscribe the dominant ideologies on the body, as well as those that seek to escape this violence. Aristizábal represents these spoken-word games; the titles and inscriptions that proliferate in his graphic work strongly evoke the oral culture of the cities in which he has lived.
Jorge Julián has been awarded multiple distinctions, the last one being: Winner of the Scholarship and Commission Program, Cisneros-Fontanals Art Foundation, Miami, USA, 2016.
In 2020, the Kadist Foundation based in San Francisco, acquired the work: The Massacre of El Aro, from the series Escándalos y Espacio 23 based in Miami, acquired the work: Animals that Practice Homosexuality. In Colombia, his work can be found in the following collections, among others: Museo de Arte Moderno de Medellín; Museum of Antioquia, Medellín; Bank of the Republic, Bogotá, and National Museum, Bogotá.
Aristizábal’s work has been reviewed in books, catalogs, and magazines; recently (2017) was published: “Consigna” Jorge Julián Aristizábal in the Seguros Bolivar Contemporary Art Collection.
Jorge Julián Aristizábal
LA Galería is an exhibition space for contemporary art, located in the city of Bogotá with almost 15 years of existence in which it has been dedicated to showing the proposals of artists, mainly Colombians, whose contents provide reflection on social and existential problems, in general, dealing with matters that concern us and the values that constitute us, always with the intention that through this thoughts we can contribute to the constitution of a more conscious society focused on a better future. The foregoing through the production of contemporary languages whose creativity and expressive quality achieve the expected impact, with the permanent intention of increasing and enlightening the public linked to the art scene, thus seeking to support the sustainability of the entire system through the commercialization of the works of art.
Carlos Castro Arias was born in Bogotá, Colombia. His interdisciplinary practice departs from the appropriation of historical images and the formal and symbolic re-contextualization of found objects. Castro’s work explores elements of the individual and collective identity and aims to bring to light muted histories and ignored points of view. Castro studied Fine Arts at the Jorge Tadeo Lozano University (2002) and a master’s degree at the San Francisco Art Castro studied fine arts at Institute (2010).
“Carlos Castro is interested in the day to day. The urgency, the lack of planning. The hollow of the sewer that is not seen. The temporary solution that is (not) going to work. The patch that is like a sick relationship, like a vice that cannot be left. The human condition beyond social classes. The “self-sustaining” jobs that are done and redone and that are useless. Unlike much of Colombian art obsessed with tragedy, Carlos Castro perceives that in Colombia there is no Genesis or Apocalypse, but cycles that repeat themselves… Personalized knives that create an army, a legion, a war machine. Scattered things are reunited and rebuilt. And also the possibility of regenerating a fruit, a seed. A new beginning.” – Santiago Rueda Fajardo, 2011
GALERÍA EL MUSEO
Galeria El Museo opened to the public in October of 1987 in Bogotá, Colombia in a space of 2.500 m2 in 5 floors, as a project aimed to develop and promote the Colombian art market locally and internationally, through the representing of recognized, middle age and emerging artists and collaborations with other galleries, museums and participation in art fairs. Represented artists are selected based on the uniqueness and quality of their work based on the contributions to the art world.
In 2001 Galeria El Museo opened Galeria Fernando Pradilla in Madrid to build a bridge between the Latin American, Spanish and European art scene.
La tentación de la impaciencia, 2021
The work of Gonzalo Fuenmayor reflects the double cultural influence that has shaped his artistic practice: the Hispanic and the North American. His childhood and youth were spent in one of the cities that incarnate the essence of a Caribbean city (Barranquilla) while his practice has developed in the United States, where he currently lives and works.
His artistic research questions the Caribbean identity as a brand and the stereotypes that this concept has created through images that have become local symbols, such as the toucan, the pineapple, the palm tree and, specially, the banana. The latter has symbolized like any other fruit the paradox of abundance and poorness, being nourishment for the local population and the cause for exploitation of farmers in the plantations, which has come to be known as the “drama of the banana”.
Gonzalo Fuenmayor’s discourse thus is shaped by irony and parody; the artist merges objects that don’t have any apparent relationship and creates images that he defines as “visual grafts”. Where the contrast between the form and its signifier takes on a new reading that provokes the viewer’s reflection.
Los hechizos del poder, 2021
ESPACIO EL DORADO
Espacio El Dorado is a contemporary art gallery and curatorial lab founded in 2015 at La Macarena, a traditional neighborhood in Bogotá, Colombia. Our mission is to promote critical thinking through the development and circulation of artistic projects. Our exhibition program is focused on artists that assume a critical standpoint to comprehend their surroundings, an approach that delivers telling evidences of intense artistic and intellectual activity. Such attitude takes both the form of an inquiring spirit reluctant to provide simple solutions in order to disturb and stimulate the audiences, and a subtle but radical and determined political viewpoint on the role and practice of the artist as a social subject.
The name of the gallery derives from El Dorado legend and borrows from it the imagery of this mythical place full of treasures, one which is built upon the desires and expectations followed by the European landing on American territory. We take distance from this idyllic postcard picture with which Latin America has been represented to disclose the historical and political complexities that have structured our social processes and nation-building projects. We propose a critical rereading that claims ownership of what has been stripped from the region and questions foreign extractivists policies.
La Señorita (Movimiento 2), 2019
Julieth Morales could be defined as a Misak artist by birth and mestiza by context. Her work challenges the representations of the indigenous subject which since the end of the 19th century have constituted the image of a Colombian nation. Morales does not conform to what was proposed by the indigenist movement in the 1930’s which sought to “return to the roots” to find a common past to give a sense of belonging to the people after a century of independence, nor with the ethnographic portraits that showed the indigenous subject frozen in time. It also moves away from the exoticism with which some contemporary artists are treated, where naivety and the “different worldview” become sufficient reasons to consecrate a work of art. Being a member of the Misak people, who have been leading political struggles since the end of the 20th century to actively participate in national construction, Morales is part of a generation of indigenous professionals who transit between urban and rural areas and who by their own decision are resignifying the past to oppose the current economic system that is characterized by its extractive and individualistic practices that are not sustainable.
The analytical starting point of her work is the individual, as her own body was the medium of the first actions. Nowadays she carries out collective actions with members of the community, drifting apart from the conception of the modern artist as a solitary genius and assuming herself as a platform built upon her relationship with others. Her self-knowledge process is deployed through performance, video, photography, drawing and silkscreen printing.
FORO.SPACE is a contemporary art gallery that opens its doors in 2019 based in the city of Bogotá. We represent artists whose practices reflect and question the different dimensions of the social subject. Our program is focused on individual and long-term exhibitions and we represent a roster of Latin American artists of medium and long trajectories. We offer exhibitions that are a turning point both in the career of the artist and the national artistic panorama. A strong theoretical component is highlighted in the programmed exhibitions.
Adriana Martínez Barón is an artist from Bogotá whose works have been exhibited in “take me i’m yours” curated by Hans Urlich Obrist, Jens Hoffmann and Kelly Taxter at the Jewish Museum in New York. “The second tropical biennial” curated by Pablo León de la Barra, Stephan Benchoam, Marina Reyes and Radames Juni Figueroa in San Juan, Puerto Rico and “past future tense. Art in Colombia in the 21st Century ”curated by Emiliano Valdés at the Medellín Museum of Modern Art. Her first international solo exhibition took place at the Detroit MOCAD Museum of Contemporary Art in 2017.
Her processes often involve writing and replacing drawings with sketchs. Finding a visual style is not fundamental in her practice, the most frequent plastic properties in her work are repetition, accumulation, cancellation, insertion and hyperbole. She uses popular iconography and symbols to comment on and track the global proliferation of those same images.
Her works can be found in national and international collections such as: Banco de la República de Colombia, Kadist Foundation, Jpmorgan Chase Art Collection, Museum of Contemporary Art of Detroit MOCAD, among others.
Not Found, 2021
INSTITUTO DE VISIÓN
Instituto de Vision is a Bogotá based gallery for conceptual based practices. Our mission is to investigate conceptual discourses that have been neglected by the official Latin American art canon. We have recovered important estates from throughout the Latin American art of the mid XX century and we continue to research the most enigmatic oeuvres of the region.
Through a parallel program, we represent some of the most relevant of contemporary practices from Colombia, Chile, North America, and Venezuela among others. Directed by three women, Instituto de Vision gives special attention to female voices, queer theories, environmental activism, the conflicts of migration, and other critical positions that challenge the established order.
Using the international art scene as a platform, we are committed to give visibility and expand the work of artists that reveal critical realities and raise important questions for these contemporary subjects.
Coste Sentimental (Triptych), 2012
Carolina Caycedo (1978), is a London-born Colombian artist, living in Los Angeles. She participates in movements of territorial resistance, solidarity economies, and housing as a human right. Carolina’s artistic practice has a collective dimension to it in which performances, drawings, photographs and videos are not just an end result, but rather part of the artist’s process of research and acting. Her work contributes to the construction of environmental historical memory as a fundamental element for non-repetition of violence against human and non-human entities, and generates a debate about the future in relation to common goods, environmental justice, just energy transition and cultural biodiversity.
She has held residencies at The Huntington Gardens, Libraries and Art Collections in San Marino, California DAAD artists-in-Berlin program , amongst others. Caycedo has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund.
Recent solo museum shows include Care Report at Muzeum Sztuki in Łódź; Wanaawna, Rio Hondo and Other Spirits in Orange County Museum of Art, and upcoming at ICA Boston and MCA Chicago. In 2019 her work was part of the 45 Salón Nacional de Artistas Colombia, Chicago Architecture Biennial, Film sector of Art Basel in Basel, and will be a 2020 visiting artist at the NTU-CCA in Singapore. Caycedo is a member of the Los Angeles Tenants Union and the Rios Vivos Colombia Social Movement.
Coste Sentimental (Triptych), 2012