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PA R A LOLA Campos De GutiĂŠrrez Session One 2013

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DESIGNED BY Jonathan Cane Mishka Naidoo

TY PESET I N Adobe Jenson Pro

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PA R A L O L A

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PA R A LOLA

I NTRODUCTION

Para Lola is the culmination of the 1st residency session of Campos de Gutiérrez 2013. The exhibition consists of two separate shows, and a memorial to Lola the cow of the residency that passed away this term. The death of this animal inspired an air of collective mourning in the microcosm of the residency, and for the first time since the program began in 2011, all of the participating artists decide to collaborate in one single work. Besides this collaboration, additional works by each of the residents will be presented at the second event in Santa Elena.

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Beyond a memorial, Para Lola integrates the different interests of four artists who share their everyday experiences for a period of three months. The presence of Adam Triano is manifest in the use of concrete, wood, and metal, and the intentional raw treatment of the materials. The site-specific installation is a monument is erected at Pablo Tobón Uribe Theater, linking Triano’s process to the following artists; Jonathan Cane and his work on forgetting, memory, and trauma, which has both performative and printed components; Andrés Monzón who intervenes and gives new functions to seemingly idle historical structures, and Myriam Tapp with her three-dimensional compositions, which allow for countless interpretations, but that always possess an allusion to time and the human body. Lastly, a significant amount of attention is given to interpersonal relationships and home, which is very present in the exhibition.

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I NTRODUCTION

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I NTRODUCTION

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MADE IN COLOMBIA

Adam Triano Made in Columbia

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Marzo Alambre Steel Wire Malla Hexagonal Chicken Wire Madera Wood Tornillos Madera Aglomerada Screws Varilla Re-Bar Cemento Cement Arena Sand Lรกmina Metรกlica Sheet Metal

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A DA M T R I A NO

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A DA M T R I A NO

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A DA M T R I A NO

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A DA M T R I A NO

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A DA M T R I A NO

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Jonathan Cane Some Experiments in Forgetting or The Art of Getting Fucked in Medellín

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He doesn't look a thing like Jesus But he talks like a gentleman Like you imagined when you were young... He doesn't look a thing like Jesus But more than you'll ever know.... —T H E K I L L E R S , 2006 You know how we remember in Medellín – we drink and we forget

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J O NAT H A N C A N E

—V I C O T R R A M I R E Z , PA R Q U E P O B L A D O , 2013

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Quisiera olvidar el día que revisé el iPad de mi novio, y descubrí que hablaba con su ex y con otro chico, sentí tristeza de leer lo que escribía con ellos, Quisiera olvidar todo lo que pasó por mi cabeza y la desesperación que sentí.

SOME EXPER IMENTS IN FORGETTING OR THE ART OF GETTING FUCKED IN MEDELLÍN

Quisiera olvidar el primer día que fumé marihuana, vomité demasiado. Fue una mala noche, me sentí aburrido.

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Quisiera olvidar el día que me di cuenta que habían fotos mías (desnudo) circulando entre gente conocida, y amigos. Y quisiera olvidar en ocasiones lo falsa que es la gente y lo mentirosos e hipócritas que pueden llegar a ser, realmente quisiera olvidar eso.

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J O NAT H A N C A N E

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Era mi segunda cita con él, quedamos de encontrarnos para ver una película de Sofía Coppola que estaba en cartelera. Me invito a unas cuantas cervezas, que nos tomamos mientras hablamos de cada uno para conocernos más, la película estuvo muy aburrida, yo solo me concentre en ver a Stephen Dorff y en el transcurrir de la película el comenzó a tocarme, masturbarme y tartar de hacerme sexo oral, yo no acepte, por miedo a que nos vieran, Cuando la película terminó, me invito al baño del teatro para hacerme sexo oral; antes de irnos me pregunto, sí le prestaba mi ropa interior hasta la próxima vez que nos viéramos, pero para la próxima se quedó con mis calzoncillos, después de chupármelo muy cerca al parque del poblado. Después de eso, no volví a verme con él. Quisiera olvidar esta cita porque se robó uno de mis calzoncillos caros, además es una persona muy rara.

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J O NAT H A N C A N E

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SOME EXPER IMENTS IN FORGETTING OR THE ART OF GETTING FUCKED IN MEDELLÍN


J O NAT H A N C A N E

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SOME EXPER IMENTS IN FORGETTING OR THE ART OF GETTING FUCKED IN MEDELLÍN


Second, as a child try to explore sexuality with my dad, trying to watched him naked when he showered or trying to touch him while he was asleep being drunk, and then he found out. Third, the one time I was disgusted at the idea of having sex and still did it.

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J O NAT H A N C A N E

First, when I'm with people forget that I'm shy and speak out loud, sing or just start dancing.

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J O NAT H A N C A N E

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The principal fact of my life I want to forget, is when I was a kid, around 8 or 9 years, it was common that on weekends or in vacations my parents took me to my grandpa's farm, it was about 2 or 3 hours away from Medellín, and he lived alone there, just with the guy how worked there plowing and harvesting, I remember we were watching how they milked the cows, somehow and suddenly a group of 20 or 25 persons started rounding the entire property, and one of them came to my grandpa and asked his name, in that moment he (my grandpa) grabbed my hand really strong, I was scared but I wasn't really aware of what were happening. The man asked my grandpa, what his name was, after my grandpa told him, he talked by his walkie-talkie and 4 people came to us, 3 men and 1 woman, the woman took me and she said, come with me, let's watch TV inside, I looked at my grandpa and he was really pale, but he told me, go with her, I went inside with the girl and I fell asleep, I’m not sure if they gave me something or what and after like two hours or so they all were gone, I went outside and I found the guy who milked the cows tied and with a handkerchief on his mouth, I helped him and he told me really scared, “Are you hurt?, did they do something to you?” I was all good, then he told me, they were the guerrilla, your grandfather is kidnapped, I didn't really know what kidnapped was until we could make phone call and talked to my parents, in about an hour they were there and explained to me, since that day I didn't see my grandpa anymore, until one day when I was like 14 or 15 my mom came home with a little box in her hands telling me, this is where your grandpa is now. I wish nothing of that happened, but it did and marked my whole life.

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J O NAT H A N C A N E

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J O NAT H A N C A N E

1. I hated and want to forget all my experience in School and High School, I was surrounded by fools and religious people. What I hated the most was the fact that I was bullied because I was feminine by a lot of "machos" and the directors wouldnt do anything. If I could be born again I would totally studied in other school. Maybe thats why I dont like at all religious and sexist people. 2. One year ago I got sick from Vertigo, that was really hard for me, specially because doctors didnt find anything on me, so I was really dizzy all the time for one year, and actually they havent tell me what I have and worries all the time if it would happen again, and gets me afraid because I dont want to be again like that. I still dont understand why, and really hate the experience, I would never liked it to happen, actually it was a really sad moment in my life.

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J O NAT H A N C A N E

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J O NAT H A N C A N E

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Once I found myself in the house of my neighbor, me and my brother were in use to play videogames over there. but this time something changed and he asked us if we like to watch porn with him, he got a new vhs. I was still a young boy so for me was it kind of ridiculous and I liked videogames more than watching this with two older guys whom stared with lustfully eyes on the screen. I guess I made some stupid jokes about what they took so serious and my brother started to say things like: you and your small penis... you will ever have this small one... and so on. I replied that’s not true I haven’t been in mu puberty but he sayed this does not matter it will ever be like this. Also afterwards he used this often to be mean to me. So I became really scared that he was right and it will ever be like this. But then not just the hairs under my armpits starting to grow…

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J O NAT H A N C A N E

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J O NAT H A N C A N E

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J O NAT H A N C A N E

It should have been love / But it’s over now Jason Night / Flin Robson / Matthew Collins / Robin Boyd / Michael Bartlett / Hylton Froneman / Rob Conroy / Brian Huckel / The Under-16 Waterpolo Team / Christian Blomkamp / Paul Waldeck / Dale Calder / Chris Janse van Rensburg / Jesse Coetsee / Stylo / Kyle Jacobson / Marc with the big arms / Ramon Something-or-other / Murray Kruger / Camilo Maralunda / Jose Antonio

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J O NAT H A N C A N E

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J O NAT H A N C A N E Hereafter my head aside will not throw my thoughts to him Hither I turned the corner I will not think of death throes Is the ransom henceforth to graze the soil conquered Hereafter is my head aside I love the past and future Here go and nevermore two years of seizure Metallic taste and given in, bedridden mother From here on orgasmic gasps and whispers: Fado is a frank unease that is and isn’t quite our own Nevertheless I won’t forget how mud can flake when dry I’ll remember foam, as it was soaked and sweetly hissing Hereafter my head aside I’ll ponder on the dearth of that Hither returned soil at hand I will not look beyond it

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PU E RTA D E L F I L O

Myriam Tapp Puerta del Filo

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During the residency I studied the landscape – the surface of the land in relation to the architecture. I started collecting, researching plans and drawings from the colonial period in Medellín and Latin America, and making sculptures based on this research. I was interested in the translation of information: from sight – seeing a building with your own eyes – to documenting it in drawing or two dimensional surfaces – to transforming it into sculpture. This leads to a kind of cycle; highlighting the misunderstandings of each transformation/interpretation as they occur through that process. I also was interested in the utopian idea of colonization; the architecture originating in Europe reproduced in another country. My stay in Colombia influenced and encouraged me to embrace the idea of structure vs. chaos, an aspect that is quite noticeable and a part of daily life. The chaos functions autonomously, becoming the norm, and almost embodying a kind sanity. Chaos is creativity where one needs to adapt an idea to a place – where you do with what you have.

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M Y R I A M TA PP

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M Y R I A M TA PP

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M Y R I A M TA PP

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M Y R I A M TA PP

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M Y R I A M TA PP

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M Y R I A M TA PP

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CAMPOS DE GUTIÉRREZ RESIDENCY

Hacienda San José / Media Luna / Mumma / La Casa Grande / La Casa Gutiérrez / Campos de Gutiérrez Residency

* Silleteros were once slaves who carried their lords on their back on a chair. Eventually the silleteros not only carried people but also merchandise. Today they are mainly known for taking ornamental arrays of flowers from Santa Elena to Medellín, and they are iconic to the region. **Mazamorra is a drink made from soaked corn and milk. ***A guaca is a hidden treasure, which is usually within a burial ground. Guacas are traditionally believed to be connected to a/the spiritual realm.

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THE ROOM OF SADDLES

01.

THE ROOM OF SADDLES

The front room in the lower level of the house was used as storage area for the horse-riding gear, medicines, ropes, emery, and other tools. According to oral tradition, the silleteros* would stop in this room to have a drink of Mazamorra** on their way up to Santa Elena –1890-1920. Right outside the room of saddles, one can spot the broken bricks where the horses were tied. This was where the horseshoes were replaced and the only area of the building the beasts could tread. Latter on, the Room of Saddles was excavated on various occasions. First in the 1970’s when, after various Ouija sessions, a legend emerged about a guaca*** that was buried in this room. The texts linked to the Ouija rituals tell of gold coins that hidden two meters in the earth by somebody named Antonio. By the year 2011, the brick floor of the Room of Saddles was gravely damaged from recurrent excavations. In 2012, Amara Abdal Figueroa restored the floor using most of the original bricks. Today, this room provides ample space for different activities; it has been used numerous times for artist critiques because of its white-cube feature, which allows the residents to work in a gallerylike setting. This space is now referred to as ‘The Front Studio’ and although it has been emptied for performances and currently functions as exhibition space, it is most commonly used for production.

I M AG E 01

Outside the Room of Saddles in the 1950’s. On the horses are Rafael and Arturo Gutiérrez.

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CAMPOS DE GUTIÉRREZ RESIDENCY

I M AG E 0 2

Upstairs balcony. The slanted floors were designed to facilitate the direct contact of the sun to the drying coffee beans. In the background one can see the altar consecrated by the bishop when Campos de Gutiérrez was a house of missions.

I M AG E 03

Today, the Room of Saddles is used as a work shop.

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I M AG E 0 4

THE ROOM OF SADDLES

Room of Saddles today.

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SAC R I S T Y A N D C OA L S TOR AG E

CAMPOS DE GUTIÉRREZ RESIDENCY

02.

Originally one single room, what is now the office and the darkroom at Campos, used to be one big shed where corn, potato, coffee and coal were stored. This room was intervened by Inés Jimenez, the wife of Ernesto Gutiérrez, who moved with her husband into his family house after he went bankrupt in the late 1950’s in Ibagué. Inés Jimenez was a scholarly woman from Bogota, and after moving to the Gutiérrez house, she found the need of designating a quiet room to studying and reading purposes. The storage area was then compartmented by a wall and reduced to half of its original size, and the remaining space became a reading room. This event coincided with the decline of coffee production in the farm. Eventually the storage room mainly served for keeping coal, but coffee was still the main trade of the plantation until the 1990’s. When fique* was introduced, the farm was mass-producing sacks, which affected Inés’ reading room as it started to be used for storage, but not forever… The need for a sacristy came from the celebration of mass that occurred every Saturday at the hacienda. Initially, mass took place on the second floor in front of an altar consecrated by Monseñor Miguel Ángel Builes** in 1943. As the community grew and the congregations of around 200 people were threatening the structural capacity of the building, it was decided that Mass had to happen on the first level. The reading room was transformed into a sacristy where the ornaments were kept and a small table served as an altar.*** Smaller congregations continued until the 1990’s. Amongst the usual items found in a workplace, the Campos office is marked by its story. Crosses signal overhead each door and window, traces of its holy mission, and a confessional sits right outside the entrance. One can hear the stream from this room and look out from an arched opening to a landscape of subtropical vegetation and boundless birds. With an air of meditative tranquility, it is easy to imagine why this room has been study, sacristy, and office. This is where Campos de Gutiérrez does administration. On the other side is the darkroom, once storeroom for goods, once tool shed, (it was even a chicken pen for a long time) is now adapted to confine blackness for processing analogue photography. This room was frequented by students of the University of Antioquia during a course led by Liliana Correa, and is available for the residents.

*Fique is a natural fiber from an agave, used in the fabrication of sacks that contained coffee for export. ** Monseñor Muguel Angel Builes – Bishop of Santa Rosa de Osos, a controversial figure in Antioquia because of his stern conservatism. *** The Gutierrez family also erected a chapel nearby in Bocaná.

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05 1980’s. Informal gathering in front of the sacristy door. Notice the confessional, the cross above the door, and a pedestal that was used to hold a crucifix sculpture during ceremonies.

06 The storage area today.

07

SAC R I S T Y A N D C OA L S TOR AG E

L E F T T O R I G H T: I M AG E 0 5, 0 6 , 0 7 & 0 8

Thee windows in 2009. On the top is the window to the dining room. On the bottom left the sacristy and on the right the coal storage room. This was during a period of inactivity of 10 years. 08 Detail of the damage the sacristy had suffered by 2009. It was restored the next year. Notice two different types of construction: Rammed earth and Bareque. The latter method was characterized by the integration of light hollow cane, cow manure, and clay.

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THE LIBR ARY The Library was the most exclusive area of the house, it was where important visits were received and the family could boast about some of their priced possessions. The aforementioned bishop, along with Father Baéz* were regulars and had their own designated stools. The bishop sat next to the priest, and the former next to a small piece of furniture that held a large illustrated bible with gilded sides and a cover made of embossed leather. Flowers were always present and a lamp illuminated a painting of The Sacred Heart. The paintings that hung in this room were made by some of the most important Antioquian artists of the XIX and XX centuries, including Francisco Antonio Cano and Marco Tobón Mejia. There was also a strange reproduction of a French General* that seemed to hold some sort of special significance for the family, and a fine painting of Helena Basquez Barrientos, who inherited the Barrientos House, which is now a cultural center in the city, and who married Pascual Gutiérrez, a principal figure in the history of the plantation that today hosts the residency. At the moment, this room is manly used as a library and study, although it still serves its original social purpose from time to time. The MAATI** studio was designed in this room, and this is where some of the former objects that have remained in the house are archived for conservation and future restoration.

THE LIBR ARY

CAMPOS DE GUTIÉRREZ RESIDENCY

03.

* Father Baéz was a Salesian priest appointed to the sector that today is the rural district of Media Luna. *Le maréchal Foch by Marcel André Baschet, 1025. **MAATI is a current project by Campos, which aims to contribute to the development of a regional ceramic culture.

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* SIC

por favor

PA R T T W O

“ Passar la ensalada,

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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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“ P A S S A R L A E N S A L A D A , P O R F AV O R ”


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2013 Session One Residents 2013 R ESIDENTS

A DA M T R I A NO was born in 1987. He studied glass at the Rhode Island School of Design where he graduated with a BFA in 2010. He currently lives someplace between the New Jersey coast and Millville New Jersey where he has spent the last two years working at Wheaton Arts & Cultural Center. He bathes almost everyday with peppermint hippie soap.

J O NAT H A N C A N E is a Research Associate in the University of Johannesburg’s Research Centre Visual Identities in Art and Design (VIAD). He was awarded the 2013 NRF PhD scholarship which he is going to use to fund his continued investigation of the horrors of whiteness and heterosexuality and go to the beach as often as he can, in his Speedo, and learn to speak Portuguese.

M Y R I A M TA PP was born in the province of Quebec in Canada. She completed a BFA in Studio Arts at Concordia University in 2006 and a Masters of Fine Art at the University of New Mexico in 2012. Her recent work combines sculptural elements and video. She currently lives in Albuquerque New Mexico with her boyfriends and three cats.

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ANDRÉS MONZÓN

BASTIAN GOMEZ has a background in graphic design and is now finishing his second degree in Visual Arts at the University of Antioquia. Bastian is assistant-to-director at Campos and his work as an artist is mostly drawing-oriented.

DOÑA DOR A GALLEGO

CAMPOS DE GUTIÉRREZ

is a visual artist and director of the Campos de Gutiérrez Foundation. Born in Colombia in the 1980’s, Monzón was formally trained as a painter and ceramicist from an early age. In 2002 he and his family were exiled to the United States, where he continued to peruse art and developed an interest in migration and cultural identity. Since 2009 Monzón has been intervening artifacts and videos that have been particularly representative of moments in Latin-American popular culture.

is the housekeeper. It is always her way or the highway, but she manages to gain the affection of the residents with her charisma. It’s been a long way since Doña Dora thought all foreigners and vegetarians were crazy.

D O N A R L É S M O N TOYA is the groundskeeper. The death of the cow this session hit him the hardest. He used to call her “Niña.” Arles likes order, especially when it comes to the use of tools and will not hesitate to make remarks to the residents concerning this matter. Arles is a rugged, yet tender fellow.

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ALL VISITORS ARE FROM MEDELLÍN UNLESS OTHERWISE NOTED.

R I TA C RO C K E R is a painter from the United States; she was a resident and collaborator at Campos for most of 2012 and the beginning of this session.

F E R N A N D O G A R AV I T O USA/Bogotá, is a musician and Myriam’s boyfriend.

BRON W Y N CANE South Africa, is a designer and Jonathan’s sister.

SERGIO R ESTR EPO director at the Pablo Tobón Uribe Theater.

JULIA VILLEGAS GUESTS AND CRITICS

architect.

MARTÍN AND ABR IL R ESTR EPO VILLEGAS Sergio and Julia’s beautiful children.

CAR LOS H. JAR AMILLO architect, works with urban public planning.

J O H A N A PAT I Ñ O psychologist.

AU R E L I E C A R M OUZ E past resident of Campos and co-director at LOMAS, an organization that aims to promote Colombian audiovisual production worldwide.

J O R G E PA R R A Co-director at LOMAS.

L AU R A A R B OL E DA historian, came with her boyfriend Luis Fernando Usuga and his sister Carmen for a hamburger night.

O S C A R ROL DÁ N curator at the Museum of Modern Art Medellín (MAMM). He tried our homemade Campos canelazo on ceramic ware made by Parul Singh.

C ATA L I NA TO RO G I R A L D O is a photography student at the Institute of Fine Arts (Instituto Bellas Artes).

PAO L A P E Ñ A is an art historian who has collaborated on curatorial projects with her boyfriend Juan Guillermo.

TOM Á S KOBER is a German graphic designer and mason. He volunteered at Campos for a second time, half of this session.

G U S T AV O C A R VA J A L C O R R E A is the gallery director at the Palace of Culture, Medellín. He made his first visit to Campos with Natalia Cano Dávila.

SA N T I AG O M A R Z OL A art student, University of Antioquia

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ESTEBAN ARENAS is in charge of communications at Metroplús.

A N DR E A M A RU R I architect.

DA N I E L U R R E A Medellín Visitors Bureau.

ESTEBAN JAR AMILLO student.

J UA N E C H E V E R R I student of international relations at Pontifical Bolivarian University (UPB).

FEDERICO MORENO V ICTOR R AMIR EZ is finishing his Masters in endodontics at the University of Antioquia (UDEA).

CARLOS GUTIERREZ is an audiovisual artist.

M AT E O PE N I L L A has a background in apparel.

J U L I A N NA PI G ATO illustrator.

A L E J A N D R O RU I Z A N D PA B L O L Ó P E Z are both visual arts students at the University of Antioquia.

L AU R A SI E R R A studies biology, also at UDEA.

J U A N D AV I D

GUESTS AND CRITICS

has a background in industrial design and also studied at UPB.

Archeologist

ALEJANDRO PR IETO studies communications and Music at the University of Medellin.

L AU R A O RT E G A is a design student at The Institute of Fine Arts.

SAROJI N I LEW IS is an artist from Holland. She was a resident at Campos in 2012.

M A R G A R I T A VA L D I V I E S O is from Bogotá, she studies at EAFIT and works for AIESEC.

J UA N DU Q U E Belgium/Colombia, is a visual artist and the guest critic this session.

SA M DE VO C H T Belgian architect.

ALEXANDER R IOS is a visual artist from Bogotá, he stayed one night and made interventions throughout the house.

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ALL VISITORS ARE FROM MEDELLÍN UNLESS OTHERWISE NOTED.

PIETER DE W IT Belgium, came to propose a project about connecting men and nature.

V I S I T F RO M T H E R E G IO NA L N E T WO R K O F V I S UA L A RT S (Red Departamental de Artes Visuales)

M I L E N A A LVA R E Z director.

FA B I O C AT R I L L Ó N visual artist.

M A RTA A N D G E R M A N

GUESTS AND CRITICS

also came with the Red.

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Campos De Gutiérrez is an international residency program for contemporary artists, designers, curators, and art historians housed in a 19th Century coffee plantation in the foothills of Medellín, Colombia. Campos emerged from the desire to promote historical preservation, while being unafraid to repurpose historical structures for the present. It seeks to foster cross-cultural interactions both within its diverse groups of participants and the existing cultural communities of Medellín.

The full ten-week program provides residents with the following: Private lodging with unlimited studio access; a studio visit from one guest critic in addition to weekly critiques; weekly guided trips to sites of interest in Medellin; access to the Campos de Gutiérrez Library and Archive; an exhibition or artist talk. Campos de Gutiérrez was founded in August of 2011. It is a young organization that exists thanks to the time, effort, vision, and financial contributions granted by its members and supporters. A special thanks to ET AL., ETC for their continued support.

Campos de Gutiérrez www.camposdegutierrez.org Phone: +57 4221 4076 Email: info@camposdegutierrez.org Physical address: Campos de Gutiérrez, Kilometro 6 via Santa Elena, Puerta del Filo, Medellín, Colombia Postal address: Calle 65 No. 48-87, Prado Centro. Medellín, Antioquia, Colombia.

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Para Lola