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Narcisso, Oscar Muñoz, Serie de 12 fotografías sobre papel, 70*50cm cada una

In the midst of the charm of the "city of light" arose the thirty-first edition of FIAC, soaked in a contemporary and modern symbolism. Hosted in the same facilities as the Motor show and the Book fair, the International Fair for Contemporary Art was more than just a feast for art lovers' eyes. It was an exciting breath of fresh, creative air.

The pink-magenta colour of its logo, contrasted with yellow and white touches, evoked a renewed, modernist and contemporary version in every sense. It was an emotional and nostalgic event, reflecting modern French society, while at the same time remaining a unique international event.
216 galleries were invited to take part, representing more than 30 countries, including Cuba, Columbia, Korea and the United States, among others. According to the critics, FIAC'04 was an event that offered vitality and variety and welcomed more collectors than ever before.

The project space Future Quake is one feature definitely worth a mention, inspired by Andre Breton's words "every work is linked to a future quake (change)", an area devoted to emerging international galleries established less than 3 years ago.

In the hall 'Café des Arts', curators, artists, critics and art lovers engaged in a series of conferences reviewing contemporary creation and issues connected to the art market. The movement of emerging European companies, pioneers of artistic and cultural projects, proposed Art Blub Cie and VIP, a series of conferences focusing on European art businessmen and women.

The visitor was guided through the labyrinth of the art fair by a map revealing the price of the artworks, ranging from 500 to more than 10,000 euros. Some gallery owners, satisfied with their sales, could proudly mark their works as sold, as was the case with two Parisian galleries, Down Town and Kreo. Other less lucky galleries were forced to wait until the very last minute for the decision of the collector, who of course, always has the last say in the matter.

Latin America, well represented Colombian and Argentinean artists especially stood out in the projects Future Quakes and Perspectives. The Latin-American production showcased fresh and clear proposals depicting social and emotional confrontation. However, in spite of the national social references, the concepts were still universally identifiable with the international contemporary art code.
The Alcuadrado gallery presented three of the most representative contemporary Colombian artists: Juan Fernando Herrán, Óscar Muñoz y Miguel Ángel Rojas.
Their most outstanding works:

NARCISO, Oscar Muñoz.
This series of photographs is conceived by the outlines of a drawing in motion, which forms a self-portrait made of charcoal dust, floating on the surface of water as it goes down a sink hole.
The success of the work depends on the speed of the camera, its ability to freeze the instant where the drawing is still intact, before it starts to dissolve and deform: the time fragment just before the drawing's destruction as it flows down the drainpipe.

SUBURBANO, Miguel Ángel Rojas
Ciudad Bolívar is a slum in the capital of Colombia, where more than two million people live in the poorest of conditions. A visit to the area inspired this artwork, which depicts ploughed fields without, paradoxically, any sign of life whatsoever. The image of two face-to-face jaguars is a popular Columbian symbol of strength, which is shown here with the image of two brothers fighting each other.
The rubber floor is a material often used on public transport in the city and the "peonias" are seeds from the Amazon used for native ornamentation.

A RÁS DE TIERRA, Juan Fernando Herrán
This work is made up of six large size colour photographs part of the series TERRA INCOGNITA (2002), which depict landscapes of Columbian territories and the living conditions of the inhabitants there.

This series of photographs show desolation and solitude, where there appears to be nothing but a constant void. In a certain sense, the absence of references and the silence that accompanies them confronts the viewer with faraway realities, lost in space and time, where certainty and hope do not seem to exist.

In the traditional landscape, the viewer's eye meets the line of
the elements that animate the scene. The strategy of using different levels makes it easier to see the representation of this space.

In A RÁS DE TIERRA, the scene is a response to the symbolic
scheme where only a few elements are the focus of the
performance. The environment, cold and austere,
emphasizes and centres on the drama of a people without any metaphorical horizons.

Text: Ivana Cecilia Zambrana

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