Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist. Consuegra’s mirrored Colombia is similar to an earlier version, made to be show opposite a mirror of the United States. Whether reflecting his two homes within one another (Consuegra studied in the US and has made several works about this experience of living in exile from his homeland), or simply reflecting its surroundings, Colombia is a simple yet evocative work about the identity of a nation, and the things that we project—really and metaphorically—onto its form. Nicolás Consuegra explores the contradictions of modern visual culture through his photographs, sculptures, paintings, and installations. Much of his work deals with subtle differences between one thing and another, whether they are visual differences or semiotic shifts. He creates visual games specifically intended to engage with Modernism’s crisply defined aesthetics. Consuegra’s shrewd alterations expose the superficiality of our shared understanding of the mid-twentieth century, calling into question our perception of reality and temporality.
Nicolás Consuegra (b. 1976, lives in Bogotá) explores the contradictions of modern visual culture through his photographs, sculptures, paintings, and installations. Much of his work deals with subtle differences between one thing and another, whether they are visual differences or semiotic shifts.
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...
Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...