Instituto de VisiónExpo Chicago · Booth 355

2018

Marlon de Azambuja was born in Porto Alegre, Brazil in 1978. He studied at the Edilson Viriato Center for Contemporary Art in Cu-ritiba, Brazil. He currently lives and works in Madrid.

The work of Marlon de Azambuja aims to generate strategies that amplify the perceptions and relations that the spectator establi-shes with the city, architectu-re and the art world in general. He develops his practice through different media, mainly installation, video, photography, sculpture and drawing.

His solo exhibitions include: Heritage at Museo Patio Herreriano in Valladolid, Spain, 2016; Construction of the Icon, at the CAAM (Atlantic Center of Modern Art) in Las Palmas de Gran Canaria, Spain, 2011; Niveles (Levels), at Casal Solleric in Palma de Ma-llorca, Spain, 2010; Projeto Moder-no, at Galeria Luisa Strina in Sao Paulo, Brazil, 2009; and Potencial Escultorico, at Matadero in Madrid, Spain, 2009. Group shows in which he has partici-pated include: Theorema, Mana Contemporary, New York, USA, 2015; Name it by trying to name it, Drawing Center, New York, USA; On Painting, CAAM, Las Palmas de Gran Canaria, Spain, 2013; 11th Havana Biennial in Havana, Cuba, 2012; 11th Cuenca Biennial in Cuenca, Ecuador, 2011; 8th Mercosul Biennial in Porto Alegre, Brazil, 2011; and 12th Cairo Biennale; 2010.

Sculpture 2 (weight), 2018Bronce, ceramics

110 x 35 x 30 cm

Marlon de Azambuja (Brazil, 1978)

Herencia, 2015Gray spray paint and plantVariable dimensions

Grain Elevators, 2015Permanent marker on book pages164 x 196 cm

www.institutodevision.com · info@institutodevision.com · +571 322 6703 · Cra. 23 #76-74 · Bogotá, Colombia.

Nicolás Consuegra (Colombia, 1976) holds a Bachelor of Fine Art from Universidad de los Andes, Bogotá, a Master of Fine Art from Pratt Institute, New York, and a Masters in Science from the Program in Art, Culture and Techno-logy—ACT at MIT, Cambridge. Nicolás has been invited nationally to show his work in venues and events such as the Biblioteca Luis Ángel Arango (Bogotá), Alliance Française (Bogotá), 41, 42 and 43 Salón Nacional de Ar-tistas (Colombia), and the International Encounter of Me-dellín—MDE07, NC-arte (Bogotá), among others. Inter-nationally, Nicolás has exhibited his work in venues such as Itaú Cultural (São Paulo), CCA Wattis Institute (San Francisco), Bard Graduate Center (New York), Santral (Is-tambul) and Havremagasinet (Boden) among others and has participated in the XI Bienal de Monterrey-FEMSA and the 20 Bienal Paiz (Guatemala) and Les Rencontres de la Photographie—Arles, 2017.

Still life, 2016MDF and wood34 x 80 x 2,5 cm

Nicolás Consuegra (Colombia, 1976)

The presence of some owls in Still Life, symbol used previously as part of the image of Colcultura - entity that disappeared to give way to the current Ministry of Culture- and designed at that time by Marta Granados and Carlos Duque, emphasizes the interest of certain institutions to employ a bird as symbol for a cultural agen-cy. Furthermore, the owl has a special connotation in the West as it is the bird that accompanies Minerva, goddess of wisdom, in An-cient Greek mythology. This owl-or moreover, these owls- marked an era of the culture in Colombia; they were a kind of vigilant and enigmatic figures that linger in cultural productions and continue to circulate in our memory, long after Colcultura ceased to exist.

In Free plant, Nicolás recalls the architectural paradigm of the same name; the model and the hand that models it are intertwi-ned, reversing each other’s symbolic dimension. Fingers as piles suggest the planes’ stability, however, it is the latter that restrict their organic movement.

Free Plant, 2016Gicleé print on conservation paper

120 x 80 cm