BIO
Group shows
2020: For a better world, Gallery Géraldine Banier / Paris / France
2020: Metanarrativas – Marburger Kunstverein / Jan 17 – Mar 5 / Marburg, Germany
2019: What I tell you is a lie / Contemporary Museum / Universidad Nacional de Colombia / 28 Nov – 15 Feb / Medellín, Colombia
2019: Contemporary narratives and processes of the visual and plastic arts of Medellin Colombia - Rozas Botrán Foundation / 30 Aug – 27 Sep / Guatemala City, Guatemala 2019: From the Object to the Subject - Museo Gallery / 11 Jul - 10 Aug / Bogotá, Colombia
2018: FiC – ProdArt ́18 / Final Master’s Degree in Artistic Production and Research / Fabra i Coats / Barcelona, Spain
2018: WUNDER-KAMMER / El castillo Museum / 26 Apr – 27 May / Medellín, Colombia
2018: Territorial Lines / Benjamin Eck Galery / 15 Mar – 21 Apr / Munich, Germany
2017: Together Apart – South Biennal / 28 Oct – 9 Dec / Cúcuta, Colombia
2016: JUNGE KUNST AUS LATEINAMERIKA / 21 Oct – 24 Feb 2017 / Frankfurt, Germany
2014: Guest artist “FRACTAL» Caribbean Cultural Festival / 13 – 15 Nov / Cancún, Mexico
2013: SIXTH YOUNG ART COMPETITION, EMBASSY OF SPAIN – COLSANITAS / Nueveochenta Gallery / Bogotá, Colombia
2012: Brand New / Eugene Gallery / 4 – 13 Dec / Korea
2011: THIRD ART BIENNIAL COMFENALCO 2011 / Medellín, Colombia
2011: CONVERGENCES / Naranjo y Velilla / 25 May – 25 Jun / Medellín, Colombia
2011: COLOMBIA IN MERIDA / MACAY Contemporary Art Museum / 28 Jan – 28 Mar / Mexico
Individual exhibitions
2015: SEEDS / BETA Gallery / 9 Apr – 4 Jun / Bogotá, Colombia
2014: SEEDS / Border Cultural Center / 25 Nov / Mexico DF
2014: IMMATERIAL MATTER II / Okio Gallery / 7 Sep – 12 Oct / Caracas, Venezuela 2014: IMMATERIAL MATTER II / La Cometa Gallery / 19 Jun / Bogotá, Colombia 2013: IMMATERIAL MATTER / Okio Gallery / 15 Sept – 27 Oct / Caracas, Venezuela 2013: COMMON THINGS / Triumph Gallery / 7 Jun – 21 Jun / Moscow, Russia 2013: COMMON THINGS / La Cometa Gallery / 21 Feb – 31 Mar / Bogotá, Colombia
Publications
2019: Arteria Edicion 67 / Mar – May / https://www.periodicoarteria.com / Colombia
2018 Gunsafe, Europe Now / https://www.europenowjournal.org/2018/10/01/visual-art-4/?fbclid=IwAR0J-UZ1VVVFb4fRSzRli33aaFwmXzc11rEF_pIom-iuJ806uYC_AyXhQ_8 2017: Colombia Arte al Limite / https://www.arteallimite.com/2017/11/25/colombia-arte-actual/ / Colombia
2016: Le Monde Diplomatique / Enero https://mondediplo.com/2016/01/ / France
2016: Le Monde Diplomatique / Enero / Serbia
Power is everywhere - Yosman Botero Gomez
The creative universe of Yosman Botero can be defined as a space built of doors and mirrors, where everything is reflected and confronted with the objective of mapping, revealing and questioning power relationships. Influenced by multiple references originating from history, literature, documentaries and art, Yosman has assembled an archive rich in mixtures that he uses at the time of creation. Standing out is his ability to detect signs and symbols and to elaborate narratives out of them that, in a visual and conceptual dimension, question the tensions both ideological and institutional as well that of the economic system in a society that bears decades of repression and brutality, articulating a essentially political work.
Yosman develops a creative process in which he first locates a colonizing act, and then determines the exploitation exercise to which it corresponds. His work criticizes the inappropriate use of natural resources through mining, the manipulation of information by the powers that be, and the unbridled cravings for enrichment. At this point, much of his work arises from the need to visualize the void, to generate resilience processes in the spectator. There is a marked interest in architecture and landscape that acquires a dimension as a social territory. Thus, his method of work could be defined as the study of the ecology of war, where he expresses an interest in those landscapes that during war conflicts only acquire value insofar as these may be a resource for the enemy.
The theoretical references of Yosman’s work are multiple. Among them the American writer, philosopher, film director and photographer Susan Sontag who in her books reflects on the meaning of her art. “That a bloody battle landscape could be beautiful - in the sublime, astonishing or tragic record of beauty - is a common place of the war scene images made by artists. The idea does not fit well when applied to the images taken by cameras: finding beauty in war scene photographs seems cruel. But the landscape of devastation remains a landscape. In the ruins there is beauty.” (SONTAG SUSAN. Regarding the pain of the others. De Bolsillo, 2010.P. 68.). (...)
Natalia Castillo Verdugo
Director AMA+