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Archivo Muerto

Andres Orjuela

Orjuela's artwork is about the memory and the rescue of historical documents. In Archivo Muerto he looks at the archive of the most famous tabloid newspaper in Bogota, Colombia when it entered bankruptcy and closed its doors, leaving on the street 50 years of photographic history.

Orjuela's artwork is about the memory and the rescue of historical documents. In Archivo Muerto he looks at the archive of the most famous tabloid newspaper in Bogota, Colombia when it entered bankruptcy and closed its doors, leaving on the street 50 years of photographic history.

Orjuela managed to salvage a number of the old photographs. These images are replete with historical details originally produced not for their visual interest but as evidence. Curiously enough, in many cases, the inscriptions on the back of the photos do not seem to match the images on the front. In Coca Traffickers (2013), two men stand with bags stuffed with marijuana. On the label, an original typewritten inscription describes the haul of marijuana that was brought in, but this text is crossed out and in coloured pencil the words “traficantes de coca” (coca traffickers) are inscribed. Apparently the evidence needed to be altered to fit the accusation.

Orjuela uses a hand-colouring technique that gives the prints a nostalgic air despite their unpleasant subject matter. In another work - a photograph of a subject who was jailed for resisting arrest - the viewer sees a uniformed leg being raised against a man cowering in his underwear behind his bed. The image raises the issue of the militarisation of Colombia beginning in the 1960s, but the gap between the subject of the photograph, police brutality, and the colouring of the image produces a sense of discomfort. The image becomes almost theatrical like a Mise en scène.

There is the nostalgia of historical distance but also lost innocence. If these factual documents, made to support bogus claims by the police, can be read as romanticised history, the work suggests that the tension between current knowledge about the past and evidence of historical transgressions can challenge idealised projections of history.

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Andres Orjuela

Andres Orjuela

Colombia

Colombian artist, Graduated from the School of Fine Arts at the Colombian National University with an honorary degree. Completed his MA in Visual Arts at the National Autonomus University of Mexico. Currently pursuing his PhD in Arts and Design in the same university.

Has participated in expositions held in Colombia, The United States, Mexico, Panama, Brazil, Peru, Argentina, France, Spain and England. His body of work ponders on the nature of power; it alters the sensationalist meaning of the journalistic image through graphic interventions which act as a vail that hides partially or completely said image. It also includes processes of gathering and contrast of data, as well as direct interventions in communication platforms to make evident and interfere in the mechanics of media circulation and consumption.

His questioning of dominance structures such as the political and the economical ones are recurrent in his work. Currently he lives and works in Mexico.

  • Previous Gallery The Cage: Visualising the Housing Dysfunction
    Previous
  • Next Gallery Lange Liste 79-97
    Next
  • Menu
  • Exhibition Home
  • Change Gallery
    • American Dreaming
      Jerry Spagnoli
    • NeghaB
      Amak Mahmoodian
    • On This Day
      Thomas Sauvin with Klara Källström & Thobias Fäldt
    • Moksha
      Rohan Thapa
    • Sex'n'database: A Corporeal Taxonomy
      Paula Roush
    • The Lost Chapter: Nampula 1963
      Délio Jasse
    • The Fist Photos: On the Polysemy of the Fist
      Francesca Seravalle
    • The Cage: Visualising the Housing Dysfunction
      IC Visual Lab
    • Lange Liste 79-97
      Christian Lange
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    Jerry Spagnoli
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    Amak Mahmoodian
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    Thomas Sauvin with Klara Källström & Thobias Fäldt
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    Rohan Thapa
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    Paula Roush
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    Délio Jasse
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    Francesca Seravalle
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    IC Visual Lab
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    Christian Lange
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