Three exhibitions from the Museum of Modern Art of Bogotá

Three exhibitions from the Museum of Modern Art of Bogotá that explore the ideals and realities of the modern Latin American dream

Two Venezuelan artists and one Colombian artist participate in the first cycle of exhibitions of 2024 at the Museum of Modern Art of Bogotá - MAMBO. The work of Carlos Cruz-Diez symbolizes the curiosity and optimism of Latin America in the years of the Venezuelan economic boom. Alexander Apóstol questions the model of modernity and Carlos Castro Arias reworks historical images and relates them to Colombian and Latin American facts and myths.
On each of the floors and in the entrance hall of the Museum of Modern Art of Bogotá - MAMBO, the idea of progress is reflected and questioned that, under the umbrella of modernism, some 50 to 70 years ago flooded the countries of the world with optimism. South America. They are three completely different exhibitions and, yet, they are united and related by an invisible thread that speaks of the utopias and frustrated dreams of Latin American nations.
The exhibition titled Cromofilia (from the Greek intense passion / deep appreciation for color) commemorates the centenary of the birth of Carlos Cruz-Diez (Caracas, 1923 – Paris, 2019), one of the main Latin American artists of the 20th century and part of the 21st, and a very prominent exponent of optical art, also known as op-art. He is known throughout the world for his work around light, color and space. Cruz-Diez was a master in the art of putting colors into dialogue and interaction based on chromatic interactions that take place in the plane, space and retina of the viewer.
Cruz-Diez's passion for light and color is the reflection of his immense curiosity about optical phenomena and the way the human brain perceives these games with light and color. His large-scale installations and works of public art have been considered milestones of urban modernism and embody the ideals of progress, industrialization and prosperity that the nations of South America longed for. His works could even be taken as allegories of the appearance of plastic and the fever for neon lights, which in the middle of the last century represented the optimism of the consumer society that was in its first phase of expansion.
In Cromofilia some pieces from the Fisicromías series are presented, which he started in 1959, and which he developed for more than 30 years. It is also possible to appreciate a sculpture from his series of Transcromías (which began in 1965) and Ambientecromointerferente (1974-2019), an installation in which the spectators who pass through the room become part of the work since the They project lights that seem to come from everywhere.
Physicochromia (from the Greek nature of color) and transchromia (from the Greek through color) are two words invented by Cruz-Diez. Physichromies are the result of the effects of refraction and reflection that produce fine lines of color adhered to the edges of the surfaces of the work. Transchromia is based on the behavior of color by subtraction.

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