Tulio Restrepo: Campo Abierto / Espacio en tránsito
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Keywords
Colombian art, contemporary art, image, urban space, dystopia
Abstract
The work of the artist Tulio Restrepo (Medellín, 1958), shares a trait with local artistic production which has been present since at least the 1970s: the attempt to form an image of the city and the urban in a rapidly changing context, which is hazardous and propitiates anonymity. This paper reviews the series Campo Abierto / Espacio en tránsito (Open field/space in transit), included in this issue of Co-herencia, a set of 20 digitally produced images where subjects about the anonymous condition of pedestrians in the urban space, surveillance and security, visual codes or the fragility of experiences for those who get around the city coexist. To do this, this paper discusses some theories about urbanism in the 1960s and examines the context
in which the artistic production of Tulio Restrepo is produced.
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References
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Article Details
Jorge Lopera, Independent researcher and curator
Jorge Lopera is an independent researcher and curator based in Medellín (Colombia). He holds a BA in Spatial Design from Colegiatura Colombiana University Institution, postgraduate studies in Cultural Management at Ortega & Gasset Foundation in Buenos Aires (Argentina) and a Master’s degree in Humanities from EAFIT University. His work has been focused on the history of art through exhibitions, Latin American conceptual art, decolonial discourses, and visual studies. He worked at the Curatorial Department of the Museum of Modern Art of Medellín from 2011 to 2012. He was awarded with the Research Grant in Visual Arts (2016) by the Ministry of Culture of Colombia and the VIII Historical Curatorship National Award (2015) by Fundación Gilberto Alzate Avendaño. He is co-author of the book Medellín Museum of Modern Art: A Brief History. Some of his recent projects include Wanderjahre (2017); Athens Salon. A critical history (1975-1984) (2016); Gestural Deployments. Adolfo Bernal, Jorge Ortiz, María Teresa Cano (2016); The Exhibition at the Edge of History. Conceptualism and Institutionality of Art in Latin America (1968-1981) (2016); La Vorágine (2015), among others. Since 2015 he often writes for ArtNexus.
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