Beatriz González: Bruma, Fragmentos

Espacio de Arte y Memoria, Bogotá, Colombia

To celebrate the master Beatriz González, FRAGMENTOS, Espacio de Arte y Memoria, in alliance with the Museo de Arte UNAL, presents BRUMA, an exhibition that gathers her most recent artistic proposal. Curated by María Belén Sáez de Ibarra, BRUMA is a commemoration of forced disappearance through the paintings of Beatriz González; a memory covered by the BRUMA that still does not reveal so many stories, so many names, so many shattered lives, so much truth. The exhibition displays twenty-seven works gathered around A posteriori, a large installation made of hanging paper commissioned for this exhibition, with which her Auras anónimas, the work that configures the monument in the columbarium of the Central Cemetery, which still awaits its consolidation as a public space and its restoration, is symbolically transferred to the counter-monument FRAGMENTOS in order to continue resisting. More than 20 recent paintings and 6 sketchbooks are added to this great installation. BRUMA is also the happy encounter of Beatriz González and Doris Salcedo, two of the most representative artists of contemporary art, teacher and student, who have dedicated their work to unveil the history of our country.

 

BRUMA is part of the program for peace and life led by the Minister of Culture Patricia Ariza. The exhibition is organized by Fragmentos. Espacio de Arte y Memoria and the Museo de Arte UNAL. Fragmentos is part of the Ministry of Culture through the Museo Nacional de Colombia and the Museo de Arte UNAL is attached to the Dirección de Patrimonio Cultural de la Universidad Nacional de Colombia. The project is carried out with the support of the Asociación de Amigos del Museo Nacional.

 

At the beginning of 2022, Doris Salcedo invited the teacher Beatriz Gonzalez to exhibit in FRAGMENTOS around nine hundred anonymous Auras tombstones in their current state of affectation, which testifies to their history of struggle for survival, but the project encountered conservation and scheduling difficulties that made its execution impossible. The work remains guarding this place. This fact became a creative opportunity that extended the life of Auras anónimas in a new work by the artist, entitled A posteriori, where six of the eight original drawings of Cargueros are repeated in paintings converted into hanging paper, with yellow tones aged by time, framed in the robust black of the arch of their tombstones. Thus, the freighters repeat their funeral marches throughout the length and breadth of the main room of FRAGMENTS, but their contours are now diffuse, ethereal.