nicolas consuegra

Nicolás Consuegra (Colombia)

Selected works

Nicolás Consuegra (Colombia, 1976). Lives and works in Colombia.

Nicolas holds a bfa from Universidad de los andes, bogotá (2002) and a mfa from Pratt Institute, New

York (2007). Nicolás has been invited to show his work in Colombia’s most interesting venues and events

such as the biblioteca Luis Ángel arango (bogotá); alliance française (bogotá); 41, 42 and 43 Salón

Nacional de artistas (Colombia), and the Encounter of medellín-mdE07, among others. Internationally,

Nicolás has exhibited his work in venues such as Itaú Cultural (São Paulo), CCa Wattis Institute (San

francisco), moCad (detroit); bard Graduate Center (New York); Santral (Istanbul); and events such as XI

bienal de monterrey-fEmSa among others.

Nicolás is interested in developing projects that are sensitive to time, place, and audience. In addition to his

personal practice, Nicolás is co-founder and member of the editorial board of Revista asterisco—an artist-

run visual arts magazine from Colombia.

Education

mfa. Pratt institute, New York, 2007

bfa. Universidad de los andes, bogotá, 2001

Goldsmiths College, University of London. Exchange-Study Program 2000

Solo exhibitions and site-specific projects

· Elementos para una unidad colectiva. Galería La CENTRaL, bogotá, 2013

· Pasado Tiempo Futuro. Galería Nueveochenta, bogotá, 2010

· Instituto de visión. Galería Nueveochenta, bogotá, 2008

· Void (en colaboración con mónica Páez). magnan Emrich Contemporary, New York, 2008

· Loosing. Pratt Institute, New York, 2007

· Suspendido. Galería Casas Riegner, bogotá, 2005

· Superficial, Galería Jenny Vilà, Cali, 2004

· En algunos vacíos. Site-specific project. museo Nacional de Colombia, bogotá, 2003

· Paréntesis. Site-specific project. alliance française, bogotá, 2003

· Traslaciones. Galería Valenzuela y Klenner, bogotá, 2002

· Esto es… museo de arte moderno de bogotá, 2001

Selected Group Exhibitions

· WATERWEAVERS: The River in Contemporary Colombian Visual and Material Culture. bard Graduate

Center, New York, 2014

· I bienal Internacional de Cartagena de Indias - bIaCI. Cartagena, 2014

· LARA 2013. museo de arte Contemporáneo - maC, Lima, 2014

· Objects in Mirror are Closer Than They Appear. Lugar a dudas. Cali, 2013

· 43 Salón (inter) Nacional de artistas - Colombia, medellín, 2013

· The Past is Present. moCad, detroit, 2013

· LARA 2012. NC-arte. bogotá, 2013

· Horizontal. Galería La CENTRaL. bogotá, 2013

· When Attitudes Became Form Become Attitudes. CCa Wattis Institute for Contemporary arts,

San francisco, 2012

· Imaginary Homelands. art Gallery of York University (aGYU), Toronto, 2012

· En algún lugar de esta otra ciudad. Galería La CENTRaL, bogotá y galería R&m, Cali, 2011

· Sobre el Territorio: Arte Contemporáneo en Colombia. Santral, Estambul, 2011

· Documentos para un futuro imperfecto. El Parqueadero, bogotá and fondo Nacional de las artes,

buenos aires, 2011

· Resurfaced: Contemporary Colombian Art. magnammetz Gallery, New York, 2011

· Histórias de Mapas, Piratas e Tesouros. Itaú Cultural, São Paulo, 2010

· El mapa: Cartografías Críticas. El Parqueadero, museo de arte del banco de la República, bogotá, 2010

· Casa de citas. museo se antioquia, medellín, Colombia, 2009

· 41 Salón Nacional de artistas, Cali, Colombia, 2008

· fotográfica bogotá. Galería Santa fe, bogotá, 2007

· Encuentro de medellín / mdE07, medellín, Colombia, 2007

· mfa Show / Pratt Institute. annex Gallery, New York, 2006

· MFA Graduate Sculpture and New Media. Steuben Gallery, Pratt Institute, New York, 2006

· Pintura sea lo que sea. Galería Cu4rto Nivel, bogotá, 2006

· XV Salón Nacional de artistas. bogotá, 2006

· XI Salón Regional de artistas. Tunja, Colombia 2005

· XII Salón Nacional de artistas Jóvenes. Galería Santafe. bogotá, 2004

· Still Life / Naturaleza Muerta. biblioteca Luis Ángel arango, Casa de la moneda, bogotá, 2003

· I Salón de arte bidimensional. fundación Gilberto alzate avendaño. bogotá, 2003

· V muestra distrital de artes Plásticas. museo de arte, Universidad Nacional. bogotá, 2002

Awards and Distinctions

· LaRa Prize 2012 (an artist-residency program). asiaciti Trust. 2013

· beca de creación en arte digital y arte para la red (a web-based project fellowship). ministerio de Cultura,

Colombia 2011 (www.proyectocooperativa.org)

· beca de investigación curatorial (a curatorial project fellowship), 14 Salones Regionales de artistas Zona

Centro (proyecto La cooperativa). ministerio de Cultura, Colombia, 2010

· Honors degree. Pratt Institute. New York, 2007

· fulbright fellowship Recipient. 2005-2007

· Third prize. XII Salón Nacional de artistas Jóvenes. Galería Santafe. bogotá, 2004

· Third prize. Salón de arte bidimensional. fundación Gilberto alzate avendaño. bogotá, 2003

· first Prize. V muestra distrital de artes Plásticas. IdCT, 2002

· magna Cum Laude. Universidad de los andes. bogotá, 2002

· Honors degree. Universidad de los andes. bogotá, 2002

Bibliography

· LARA 2013. José Roca, miguel López and Luis Nieto degregori. asiaciti Trust, 2014

· Waterweavers: A Chronicle of Rivers. José Roca and alejandro martín (Editors). bard Graduate Center,

New York, 2014

· I Bienal Internacional de Cartagena de Indias - BIACI. Cartagena, 2014

· The Past is Present. Jens Hoffmann and Liz Glass (editors). moCad, detroit 2014

· When Attitudes Became Form Become Attitudes. Edited and with introduction by Jens Hoffmann. Wattis

Institute, 2013

· LARA 2012. alexia Tala, José Roca and William ospina. asiaciti Trust, 2013

· Transpolítico: Arte en Colombia 1992-2012. José Roca and Sylvia Suárez. J.P morgan, Paralelo 10,

Lunwerg Editores. bogotá, 2012

· “de tiempos y ciudades: fotografía colombiana hoy”. maría Wills Londoño. In Lugares de Tránsito.

Fotografía y residencias artísticas. Eneas bernal (Editor). Editorial Rm, méxico d.f., 2012

Ausencias paralelas, zonas de contacto (Parallel Absences, Zones of Contact). 2014.

offset print. 148 pages. 25.3 x 17.5 cm. first edition of 500 copies.

a project developed for the residency program LaRa 2013. museo de arte Contemporáneo - maC,

Lima, 2014.

This project combines the visual information of two National Geographic magazines from 1913 on

the expeditions made to the Philippine Islands and Peru (machu Picchu) respectively.

by extracting the textual content from both magazines and leaving only the visual information,

I intend to explore a new narrative that emphasizes the visual objectivation of the native people and

places in both contexts as well as the colonial undertones revealed on these type of publications.

Even though the Philippines and Peru seem so far from each other, both territories were Spanish

Colonies between the 16 and 18th centuries, and provide interesting connections by means of

the maritime routes established by the Spaniards between the ports of manila, acapulco, Panama

and Lima.

En la cercanía está aquello que acostumbramos llamar cosas

(Near To Us Are What We Usually Call Things), 2014.

Perforated mdf panels and metallic C-clamps

(200 x 130 cm approx. each panel).

a work developed for the solo-projects section of aRTbo 2014,

bogotá.

En la cercanía está aquello que acostumbramos llamar cosas

(Near To Us Are What We Usually Call Things), 2014.

based on my personal interest on both architectural heritage and historic influence of modern

architecture in bogotá, I developed a set of pieces inspired by different building façades found in the city.

different spatial configurations are intended to juxtapose the notions of an interior and exterior space,

and the relative scale of objects within an exhibition space.

Untitled (agitators). from the project “Elementos para una unidad colectiva” ("Elements for a Collective Unity"),

2013. Paraffin wax. dimensions variable. a project developed for La CENTRaL, bogotá.

a set of three-dimensional pieces cast in paraffin wax, occupies part of La CENTRaL Gallery. Their singular

shapes are intended to recall the conspicuous forms of certain utopian monuments of the past. Sleek

dynamic forms melt down while the exhibition is opened and become rather amorphous shapes that serve

as metaphor to represent how human endeavors (and revolutions) are "consumed" in time.

Untitled (agitators). from the project “Elementos para una unidad colectiva” ("Elements for a Collective Unity"),

2013. Paraffin wax. dimensions variable.

Elements for a collective unity, 2013. Perforated fiberboard, mdf and lightbulbs. 150 x 150 x 210 cm

Elements for a collective unity, 2013. Perforated fiberboard, mdf and lightbulbs. 150 x 150 x 210 cm

This drum-like perforated structure surrounds a large scale agitator that has been carved in wood. To have

a good vision (or image) of this agitator, the audience is invited to walk around the structure. The faster the

audience moves, the better image will get from it—similar to the visual effect of a zoetrope.

Elements for a collective unity, 2013. detail of view though perforations.

Nadie sabe de la sed con que otro bebe (Nobody Knows Someone Else’s Thirst), 2012.

drinking glasses cut lenghthwise and mirrors.

a project developed for the residency program LaRa 2012.

This work is an arrangement of cut glasses in front of a mirror that suggests the need of hydration in warm

lands. The title is a popular saying that affirms that it is never possible to know what another person is going

through, and, in a deeper way, it also suggests that experience, subject to the relationships among individu-

als, time, and place can be perceived as an illusory nearness with the other.

Nadie sabe con la sed que otro bebe, 2012. Vasos de vidrio y cristal espejo.

El agua que tocas es la última que ha pasado y la primera que viene

(The Water that you Touch is the Last of What has Passed and the First of that Which Comes), 2013.

multi-channel video installation a project developed for the residency program LaRa 2012.

“The work itself takes the form of a paradox: various monitors project a succession of fixed perspectives, with a river that runs continuously from right to left, through the middle of each screen, where the horizon line would typically be. Shot in very similar light conditions, at different locations in the port of Honda on the magdalena River, these moving photographs appear linked, creating the illusion of a single flowing image. Even if we are aware that what we see on one screen does not continue onto the next, we are deceived by the hypnotic flow of the river, and we cannot seem to escape the illusion of a single body of water. The water that flows out of one screen seems to be the same as that which enters the next.” from: “Waterweavers. The river in Contemporary art”, bard Graduate Center, NY.

http://vimeo.com/79511916

Aquí y allá (Here and There), 2012. Glass and tin, dimensions variable.

Noche (después de Ziraldo) y Día, 2012. Hierro lacado, 150 x 105 x 2.5 cm.

by playing with the signifier and the signified (the white sun that announces the word “night”), or by using

repetition to hide text within ornamentation (the word “day” camouflaged by a black grid), these two pieces

are intended to resemble household grilles as if they were used for each time of the day.

Algunos dañados, otros funcionan (Some are Broken, Other Work), 2011. mdf, plywood, glass and y mirror.

dimensions variable.

Algunos dañados, otros funcionan (Some are Broken, Other Work), 2011, detail

Se aceptan cheques (Cheques are Welcome), 2011. Neon. 164 x 30 cm.

Palacio de Justicia (Court House, bogotá). 2011

a project developed for the exhibition “documentos para un futuro imperfecto” . El Parqueadero, bogotá

and fondo Nacional de las artes, buenos aires, 2011.

This project recreates, in a fictional way, the complete design proposal of the second courthouse built

in bogotá, during the 70s and later demolished in the 90s. both models and plans present the initial

architectural complex designed by Colombian architect Roberto Londoño, which was never completed as a

consequence of the fire generated after the clashes between the national army and the guerilla group m -19

in 1985.

"Pasado Tiempo futuro", 2010. View of the exhibition. Galería Nueveochenta, bogotá.

Interior (after de Paul beer). 2010. from the project "Pasado Tiempo futuro", 2010.

a three dimensional diorama was fabricated in black and white tones inside the

gallery space—based on a black and white photograph shot by German photographer

Paul beer in bogotá, in the early 1960s. This diorama was made in order to shoot a

full color photograph, in order to depict the “natural look” of a space made without the

use of color.

Interior (after de Paul beer). 2010.

following page:

Interior (after Paul beer ) . 2010. Gicleé print on archival paper. 90.5 x 133 cm. This image shot and printed

in full color depicts the interior space fabricated in black and white tones. from the project “Pasado Tiempo

futuro” , 2010 .

Untitled (hombre de oficina). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 115 x 60 cm.

from the series Encuentre las diferencias, 2010. from the project “Pasado Tiempo futuro”, 2010.

Untitled (recepción). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 115 x 60 cm.

from the series Encuentre las diferencias, 2010.

Untitled (estudio). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 110 x 82 cm.


Untitled (sala con chimenea). after manuel H. Rodríguez. 2010. Gicleé print on archival paper.

110 x 70 cm. from the series Encuentre las diferencias, 2010.

Untitled (sala comedor). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 110 x 70 cm.


Untitled (cocina). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 110 x 69.5 cm.


Untitled (bar). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 110 x 83 cm. from the series

Encuentre las diferencias, 2010.

Untitled (La Nacional de Vida). after manuel H. Rodríguez. 2010. Gicleé print on archival paper.

60 x 115 cm. from the series Encuentre las diferencias, 2010.

Untitled (en la oficina). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 60 x 115 cm.


Untitled (niño jugando). after manuel H. Rodríguez. 2010. Gicleé print on archival paper. 60 x 115 cm.


Nocturne (Lersundy building). 2010. mdf and programed LEds. The programed LEds, simulate the flickering

lights of color TV sets at night. from the project "Pasado Tiempo futuro", 2010.

"Instituto de visión", 2008. Vista de la exposición, Galería Nueveochenta, bogotá.

following pages:

Untitled (Ritmo de la noche), 2008. Giclée print on archival paper. 48 x 72 cm

and Untitled (Instituto de visión), 2008. Giclée print on archival paper. 48 x 72 cm.

Untitled (Esferódromo), 2008. from the project "Instituto de visión", 2008.

The Esferódromo is a gambling game that emerged in Colombia in the late 1950s. It is an attempt

to combine gambling devices derived from the electromechanical horse-racing games . despite the

Esferódromo was banned in Colombia for being considered a game of chance, its "inventors" succeeded

legislatively for some years with the argument that itwas a game of luck and skill . This temporary status of

the game foster its popularity between the second half of the 70s and 80s, a time in which the esferódromo

become an attraction within bogotá's circuit bets.

The Esferódromo is a creole combination of pool billiard anr roulette games. Eleven spheres roll down on an

inclined j-shaped ramp towards a concave dish that makes them spin hypnotically for some seconds until

they reach a hole in the midle of the dish. The first ball to be introduced is the winner of the game. Nearby

this ramp, there is a table where bets are made.

for the project "Instituto de visión", an Esferódromo was installed in the gallery space and functioned during

the opening of the exhibition. Viewers were able to see the game running through the holes on the letters

painted on the window's glass.

Untitled (El pato y la pata). after dolcey Gutiérrez and marcel duchamp. 2008.

Emery powder and metal lettering on mdf and electric motor, 120 cm Ø.

from the project "Instituto de visión", 2008.

Untitled (Cachamba). after Kinito méndez and marcel duchamp. 2008.

Emery powder and metal lettering on mdf and electric motor, 120 cm Ø.

from the project "Instituto de visión", 2008.

Uno de nosotros, entre nosotros, con nosotros (One Of Us, Among Us, With Us) 2004-2008.

C-prints, 60 x 60 cm (40 in total).


C-prints, 60 x 60 cm (40 in total) and Renault 4. Exhibition view at 41 Salón Nacional de artistas, Cali, 2008.


C-prints, 60 x 60 cm (40 in total).

Untitled (arriero y esclavo). a project developed for the Encuentro de medellín -

mdE07.

Two living statues—professional performers working the streets of medellín—were

hired and situated on the first and second platforms of the principal staircase of the

museo de antioquia, medellín. both living statues bear a detailed resemblance to

the figures of a rural worker (or arriero in Spanish) and a slave during colonial times.

Pretending they were made of bronze, these figures were placed in front of the mu-

rals by Colombian artist Pedro Nel Gómez and facing the sculptures by fernando

botero. both Gómez and botero are regarded as key figures in antioquia’s art his-

tory and both were attracted by the mexican muralist movement at different points

in their careers. The intention of presenting these living statues within the museum’s

collection was to draw the attention to two essential figures in the history and evolu-

tion of antioquia region. The yet aestheticized representation of the working poor,

as represented by Gómez or the bold bronze figures by botero are juxtaposed with

these two working street performers. Therefore, it is relevant to mention that nothing

was changed in the performer’s garments or their daily act they have already set for

the street, but the public context in which they are usually found.

Untitled (Yellow Storage Building) and Untitled (Erased Storage Building #1). 2008. C-prints, 93.5 x 127 cm.

following pages: exhibition view at magnanmetz Gallery, NY and Untitled (Erased Storage Building # 2), 2008

from the project “Void” (in colaboration with mónica Páez).

This project is composed by a group of photographs depicting self-storage buildings found in New York

City and a wall piece, made of mirrors. The mirrors, cut and displayed as if they were ordinary bricks, re-

create the familiar sight of a solid wall while giving the illusion of expanding three-dimensional space. In

a city like New York, Self-storage buildings meet the demand for space and decluttering while offering,

in a colossal disguise, the illusion of minimalist living.

Cartografía textual (Textual Cartography), 2009. Vinyl lettering on wall. Installation view at the

I bienal internacional de Cartagena de Indias - bIaCI, 2014

Cartografía textual, 2009. Impresión offset. 90 x 125 cm.

Untitled, 2007 (Colombia y Estados Unidos). mirror

Eldorado. Video NTSC. 2’15”

This video features an abandoned Cadillac Eldorado at a drive-in cinema. The screened film is El dorado ,

directed by Howard Hawks (1966). for the shooting of this video, a scaled diorama was made.

from the project “Loosing” 2007.

diorama for Untitled (Eldorado).

Untitled (Edgar allan Poe’s poem El Dorado), 2007. Vinyl lettering on wall and mirrors. from the project “Loosing” 2007.

Untitled (Color fields). 2006. offset prints made without printing plates. 50 x 35 cm.

Untitled (Color fields). 2006.

Untitled (Exile), 2007. modified exit sign. 25 x 40 x 8.5 cm.

Postcards for Museums (brooklyn museum), 2007. Postcards 13 x 18 cm each, 5 in total.

In collaboration with mónica Páez.

This project presents unusual images of the museum space—through the accessible, yet intimate, medium

of the postcard. Inspired by brian Eno’s music projects such as Music for Films and Music for Airports,

Postcards for Museums capture the museum’s routine processes of exhibition preparation (unwrapping the

artwork, mounting) and deinstallation.

Paréntesis, 2003. a project developed for "Nuevas propuestas 2003-2004", an exhibition program runned

by the alliance-française in bogotá showcasing young artists in Colombia.

Paréntesis, 2003. Site-specific installation and sound (a playback of Paris Texas—the motion-picture

sountrack composed by Ry Cooder audible in low volume).

This installation was intended to resemble certain architectural aspects of an old cinematheque—similar

to the ones still found in downtown bogotá. The idea of this project was to make a reference to the ways

we—as Colombians—convey the notion of french culture via its cultural production and its sophisticated

and yet intellectual aura. In order to approach these ideas, I was influenced by Wim Wenders film Paris-

Texas which might be a sort of ridicule reference to Paris—not the Cité de la lumière—but a city located in

the State of Texas, USa. It is noteworthy to mention that there are six other cities named Paris in the U.S.

and that in reference to this specific project, the suffix “Texas” in Wenders’ film is an intentional detour to

formulate how an uncontaminated cultural legacy can be appropriated by a foreign culture and thus be able

to fabricate convincible representations (e.g. the replicas of the Eiffel tower found in the U.S territory).

Monumentos mínimos (after dan flavin) No. 1-8, 2003. Ultra-Light cigarettes on wall.

Monumentos mínimos (after dan flavin) No. 9-10, 2003.

Ultra-Light cigarettes on wall.

facing page: Exhibition view, 2003.

Untitled (marlboro hats), 2002. offset print on cardboard. a replica of the handmade hats made by Colombian street

vendors out of marlboro cartons. The caps were reproduced without any textual/commercial information. from the

project “Traslaciones”, 2002.

Untitled, 2002. Intervention with day-Glo barnish on wall (this barnish generates a red halo reflected

on the white wall of the gallery by means of daylight). from the project “Traslaciones”, 2002. Galería Valenzuela y Klenner, bogotá.

Untitled, 2002. mdf and formica. 15 x 100 x 10 cm. each. from the project “Traslaciones”.

Salto, 2002. 9 Collages made from marlboro boxes and photographs depicting architectural fragments.

32 x 42 cm each. from the project “Traslaciones”, 2002.

Cigaette, 2002. a replica of a cigarette made in stainless steel and handpainted. 0.8 x 0.8 x 8 cm.

from the project “Traslaciones”.

Salto, 2002, detail.

nicolasconsuegra.com

nicolas consuegra

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artistas colombia

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arte contemporneo en

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