DECONSTRUCTION” exhibition and series of events explore models of working cooperatively with artists, seeing them as contributors, in order to rethink the stereotypes of art system parameters.

Harrison Tobón
Boris Pérez
Laura Peña
Andrés Matías Pinilla + Gustavo Niño
Fredy Alzate
Luz Ángela Lizarazo
Natalia López-La Reina
Hernando Velandia
Verónica Lehner
Ximena De Valdenebro
César León
Karen Aune

Curator: John Ángel Rodriguez

DECONSTRUCTION is a philosophical movement that was led by Jacques Derrida, aimed at finding new meanings by adding non-linguistic exercises and reformulating the significant value of language in terms of creative writing. Nowadays it has been employed as a verb that can be applied, among other uses, to criticize inconsistencies within hegemonic systems.”

GCP’s philosophy allows artists to work actively with space, and for this reason, the artworks are executed in situ. Consequently, interventions are mediated by the architectural space and the proceeding methods of each artist. The artists taking part in this exhibition project have previously worked with site-specific installations. Our artists perform spatial approaches demeaning the origins of the material employed, address inconsistencies of materiality regarding the configuration of sculptural projects, and others are reflecting the strength of matter in terms of fundamental equilibrium. In addition, some of the artists prefer to insinuate the arbitrariness of the contexts in which certain objects usually are located and how this attribute disjoints from its structural systems.

This exhibition project came about at the point where sculpture and site-specific installation meet, with non-figurative artworks created by artists. We aim to connect the exhibition’s particular architectural properties with contextual acts as an important shift of the project.

The pieces assembled at “Deconstruction” appear to transit the spectrum of three-dimensionality, and this assortment of interventions can be understood as an examination of the sculpture, which in turn involve nontraditional building procedures. Hence, the techniques and materials used by the artists can raise doubts about the sculptural practice differing from academic conceptions related to this question.

We are interested in questioning:

What happens when the artworks, in its most radical format of display, interact with the local art scene, and what are the attributes of this exhibition? What features does an installation require for the public to want to identify with?

“Deconstruction” encourages us to rethink how emotions disappear when inanimate objects invade our creative habits. These artworks underline the elaborate layers and strategies of re-reconfiguration and installation. The aim of this exhibition is to focus on, and think through as a community, what attempts might generate a suitable independent art space for both scholars and the general public.

Among the exhibited works are open-air installations. Boris Perez presents his artistic observation about the Bogota Art District regarding gentrification and how Bogota’s rare urbanism politics are open to a myriad of interpretations, generating different formats of construction. His installation includes scale models and architectural sculptures produced in a varied range of wooden materials, as well as the artist’s large installation titled “Here your dream house is built”.

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