By Museum of Contemporary Art Bogotá
Selection: Gustavo A. Ortiz
The Collection of the Museum of Contemporary Art in Bogotá allows a reading of the faces of our society; the faces are not always what we imagine and most often scurry of trying to impose limits.
Ideal and Reality
Any representation goes through a process of synthesis, there are many elements are discarded and others are magnified.
Las Banistas (1963) by Luis Alberto AcuñaMuseum of Contemporary Art Bogotá
Acuña carves his figures with small touches to give them a hammered appearance
La Familia (1965) by Leopoldo RichterMuseum of Contemporary Art Bogotá
Afro-Colombians expressed with flat faces are linked to the post-cubist proposals.
Supermercado de la Septima (1966) by Santiago CárdenasMuseum of Contemporary Art Bogotá
This face expressed areas of flat color is typical of pop art.
Portarretrato para los descendientes de Dorian Gray (1967) by Ana Mercedes HoyosMuseum of Contemporary Art Bogotá
A seemingly childish face, almost sketchy, refers to the moody portrait of Dorian Gray.
Nina Ingravida (1965) by Beatriz GonzálezMuseum of Contemporary Art Bogotá
Color zones activate in our minds the shape of a face.
Jugadores de Poquer (1970) by Antonio RodaMuseum of Contemporary Art Bogotá
Stains and crossed lines, built from the plane many faces.
Pisco 2 (1970) by Luis PazMuseum of Contemporary Art Bogotá
Textures, drawings and contrast, with the framework of this face.
Verano (1977) by Luciano JaramilloMuseum of Contemporary Art Bogotá
A distorted face typical of figurative expressionism.
Bañistas (1966) by Luis CaballeroMuseum of Contemporary Art Bogotá
When the torso is the most prominent face becomes anonymous.
Eran las 5 de la Tarde (2001) by Dario OrtizMuseum of Contemporary Art Bogotá
Sometimes faces do not want to see, like the face of death.
Tap to explore
The indigenous face has been revalued by urban artist Gouache city with its interventions and paintings.
Selection and texts: Gustavo A. Ortiz
