top of page

Normas para Viajerxs - Rules for Travelers



The project called De Voz a Voz (word of mouth) came from an invitation from the Museum of Modern art of Bogota to 50 artists to produce works published by the newspaper EL TIEMPO in its weekends' editions. By collecting the multiple-original works people will have a testimony of the most complex moment humanity has experienced in recent times.

De Voz a Voz (#ElMamboDeVozAVoz) is undoubtedly the first major artistic project of the pandemic in Colombia and it is an exhibition in progress —like the project itself— that grows in the museum week after week, juxtaposing two different visual registers: the artist's work (if it exists physically) and the copies as they have been published in the newspaper, exhibited in chronological order. 

De Voz a Voz

I am interested in the function and circulation of cultural gender symbols; how they articulate and hide political meanings.


Thus I refer to the feminine principle that is in everything, and to the adjectives and qualities that are usually assigned to it: sensitive, fickle, weak, hesitant, etc., and how these attributes are often used pejoratively.


Before the pandemic, it never occurred to me to associate one of those adjectives, fragility, with the systems of power. However, now, I see how vulnerable are those institutions that we considered solid and impossible to change.


From a very young age I was aware of the precariousness of life, but, at this moment, there is something that is evident: there are lives that, due to their circumstances, are more vulnerable to fragility.

Faced with the networks of racist, patriarchal and capitalist powers that control, subordinate and diminish us, voices of protest and acts of solidarity increase throughout the world. The mobilization of these attentive bodies guides me towards hope. In this "sitting" daily, without knowing what will happen, I recognize hope in uncertainty, because doubt harbors the eventuality of other possible worlds. 

bottom of page