Clemencia Echeverri 

Colombian artist who lives and works in Bogotá, Colombia. She was born in Salamina, Caldas in 1950 and holds a Bachelor Degree in Visual Communication from Pontificia Bolivariana University, and a Fine Arts and Arts Studies Degree from The Universidad de Antioquia. She did a Master’s course in Fine Arts at Chelsea College of Arts in London and a Degree certification in Contemporary Art and Theory in the same University. She was for 27 years a professor of Graduate and Undergraduate courses at the Universidad de Antioquia and Universidad Nacional de Colombia. In the 90’s, Echeverri gave a radical turn to her career after a solid and significant work in painting and sculpture in Medellin, during the 70’s – 80’s decade and after moving to the capital Bogota, she found sound and video to be an appropriate media to confront with a critical point of view, troubled topics in the social, political, cultural and environmental arena in Colombia.

Her work is framed in a rigorous process of research, field work and creation with a deep exploration that flows from the personal to the social and the political arena of her country, generating intersections between video, sound, intervened photography and installation. By employing multiple strategies of scale, technical supports, space and sound presence, her practice investigates the ways in which violence and its transmutation are present in relation to the viewer. She dedicated herself to create audio-visual installations that generated physical and psychological spaces where the spectator lives a similar experience in the conceptual frame of emotions and bodily reactions.

Echeverri explores problems about loss and grief, enforced disappearance, in tension with the forces of nature that have been violated from the cultural landscape in Colombia. The multi-channel and immersive video installations invite us to understand the time of memory in its construction of history and to consider how art enters as a mediator of new sensibilities. Her work encourages those who witness her works, to strengthen a collective resistance against the abuses that surround us.

In later years she has produced video-installation projects that appeared in multiple national and international events, the most outstanding of which are Treno/Waterweavers “The River in Contemporary Colombian Visual and Material Culture”, curated by José Roca and Alejandro Martín. Bard Graduate Center in New York and at Conde Duque in Madrid, during Arco Fair 2015 and The Art Museum of the Americas in Washington. At NC- Arte (2015) a non for profit space in Bogotá, she presented in Nóctulo a multichannel video installation that relies on the construction of space within a space through transparent displays and interactive sound.

This work attempts to question our certainties on visibility and memory, and to raise the possibility of rethinking the reconstruction of the present. Sacrificio in the I Cartagena de Indias Biennial, and in the National Artist Salon, Medellín. Versión Libre nominated in the VI Luis Caballero award. At the exhibition called "Coordenadas, a history of the installation in Antioquia; Museum of Modern Art of Medellín. Oppening of the Video installations SupervivenciasJuegos de Herencia and Treno at Alonso Garcés Gallery, Bogotá. Juegos de Herencia (one channel) at Cosmovideografías Latinoamericanas; CENART, México, and at the Museum of Modern Art of Barranquilla. The work Frontera at the MDE11, Medellín, and Juegos de Herencia (Photography) at Fotográfica Bogotá. The interactive video installation/sound Voz resonancias de la prisión at the National Museum of Colombia and in one channel for the England’s Liverpool Biennial (No Longer Empty proyect), Treno Switzerland’s Daros-Latinamerica Museum; the Centre of Contemporary Art Znaki Czasu in Poland; the Delfina Foundation in the UK; and at the Art Museum of the National University of Colombia; Casa Íntima at the VI Havana Biennial, Cuba. 

The video Apetitos de Familia at the VI Bienal de Bogotá, Museum of Modern Art of Bogotá; and the VI Biennial of Havana, Cuba. With ten Colombian female colleagues, the artist took part in an international tour through France, Venezuela, Brazil, Argentina, Uruguay, and Chile, with the video installation De Doble Filo. She has participated with other colleagues, in electronic arts festivals such as the ISEA in Helsinki-Stockholm and Tallin; the Festival de Artes Electrónicas Banquete in Madrid; Ars Electronica in Austria; Artrónica in Bogotá; and Metal in London with the work Quiasma. The worth of notice, during the past fifteen years in Colombia, is her abundant output in multiple exhibits as well as her work’s presence in museums and galleries such as the Museo Nacional de Colombia, the Museo de Arte Moderno de Bogotá, and the Museo de Arte Universidad Nacional

Two books about his work is in process of editing: Colección de Arte Contemporáneo, Seguros Bolívar, (December 2016) curated by José Ignacio Roca and Alejandro Martin, will be a volume of three books with other Colombian artists José Alejandro Restrepo and Juan Fernando Herrán. The second book: La imagen ardiente, belongs to the collection “Colombian Artists” produced by the Ministry of Culture of Colombia and is dedicated to the work of Clemencia Echeverri and written by Sol Astrid Giraldo, Colombian curator, and art critic.

A book on her most recent works, entitled Sin Respuesta (Unanswered), was edited in 2009. Her video installation Versión Libre was in the VI Premio Luis Caballero contest. Moreover, her work took place in 3 international-level events taking place in Colombia: The I Arts Biennal, Cartagena de Indias, the MD11 in Medellín and Fotográfica in Bogotá. 

Clemencia has been the recipient of awards, honorary mentions, and national and international fellowships such as those given by Yadoo, arts residency in New York, the Arts Council, London; Canada’s Daniel Langlois Foundation; and the Colombian Biennial of Arts Award. London’s Delfina Foundation is one of the outstanding international institutions that have supported her. In Colombia, she has received research-creation fellowships from the Ministerio de Cultura, the Universidad Nacional de Colombia, and the Instituto Distrital de Cultura de Bogotá. 

Clemencia Echeverri's work is part of the Musee les Abattoirs collections, Toulouse, France. Hishrom Museum, Texas, Daros – Latinamerica. The Central Bank of Colombia, Bogotá, Colombia. MOLAA, Museum of Latin American Art of Los Angeles. MEIAC Museum, Spain. Latin American Art Collection in Essex, England. University Museum of Contemporary Art (MUAC), Mexico. Gilberto Alzate Avendaño Foundation, Bogotá. Museum of Art, National University of Colombia, Bogotá. National Museum of Colombia, Bogotá.

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