ExhibitionAugust 6, 2021
Yes, But No by Mateo López at Casa Republicana
Casa Republicana presents "Sí, pero no," by Colombian artist Mateo López, which is part of the new program of the Banco de la República in which it commissions works to contemporary artists to be acquired for the collection.
Curated by Maria Wills and Julien Petit, the exhibition presents 15 works through which the artist explores the relationship between drawing and bodily expressions to be activated by the visitor.
The exhibition is complemented by ten videos entitled Disobedient Bodies, produced during the health crisis, to reflect on the uninhabited places, using the body as a message.
Yes, But No, is a project in which Mateo López shows the evolution of his work in the last decade. The initial concept of expanded drawing, in which he had worked most of his previous production, is transformed into new forms of artistic expressions, contemporary and classical, in which performance and choreography join collages and videos.
The works that are part of the exhibition are an exploration of the body as a message of dance and movement that in his choreographies transcribe the same set of turns, signs, and strokes that are part of the drawing.
Curated by Maria Wills and Julien Petit, the exhibition presents 15 works through which the artist explores the relationship between drawing and bodily expressions to be activated by the visitor.
The exhibition is complemented by ten videos entitled Disobedient Bodies, produced during the health crisis, to reflect on the uninhabited places, using the body as a message.
Yes, But No, is a project in which Mateo López shows the evolution of his work in the last decade. The initial concept of expanded drawing, in which he had worked most of his previous production, is transformed into new forms of artistic expressions, contemporary and classical, in which performance and choreography join collages and videos.
The works that are part of the exhibition are an exploration of the body as a message of dance and movement that in his choreographies transcribe the same set of turns, signs, and strokes that are part of the drawing.
Gallery
