Faces and traces

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.

Roxy Madona (1986) by Carlos SalazarMuseum of Contemporary Art Bogotá

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.

The indigenous face has been revalued by urban artist Gouache city with its interventions and paintings.

Credits: Story

Selection and texts: Gustavo A. Ortiz

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Google apps