Audiovisual Performance by Sergio Mantilla
Enjoy a conversation with Colombian Artist Sergio Mantilla and two amazing Art Curators: Adriana Ospina from the Art Museum of the Americas and Laura Zarta from Banco de la Republica you will learn about the dynamic combination of materials, methods, concepts, and subjects that are challenging boundaries in the world of Art in Colombia and other countries. Using digital tools, music and images in an audiovisual performance, Mantilla will talk about how he interprets his culture, his country and all its diversity.
Sergio is a Colombian Multidisciplinary Artist that has focused his work on electronic media and audiovisual communication. His work takes on multiple forms such as installation works, light sculptures, video art pieces, photography and audiovisual performances.
He explores the relationship between humans and their perception of time. He uses light and analyze how it manipulates and changes time and space. He also shows the balances and tensions between analog and digital worlds.
Mantilla has also lead art projects and worked in audiovisual production, branding, editorial design and photography. He is the Founder of Articular LAB, and Co - Founder of MA + CH, an interdisciplinary studio and a creative duo art studio project.
Adriana is the officer in charge of the Art Museum of the Americas of the Organization of American States. AMA Since 2007, she has held positions including Educational Program Manager and, since 2014, Curator of the Permanent Collection. She has curated numerous exhibitions, among them Fusion: Tracing Asian Migration to the Americas; Femininity Beyond Archetypes: Photography by Natalia Arias; A Gaze through the CINTAS Fellowship Program; A Selection of Works from the CINTAS Foundation; and Arts of the Americas; Cultural Encounters: Art of Asian Diasporas in Latin America & The Caribbean 1945-Present, she has also co-curated exhibitions including Visual Memory: Home + Place; and Dialogue: Landscape and Abstraction | Freya Grand and AMA Permanent Collection. Ospina edited the book Collection of the Art Museum of the Americas of the Organization of American States (OAS, 2017). She has participated in the College Art Association Conference in 2013 and 2020.
Laura Zarta is the current Chief Curator of the Arts Unit and Other Collections of the Central Bank of Colombia (Banco de la República). As such, she leads the curatorial team responsible for building an art collection of over 6000 pieces spanning from the XVI to the XXI century, and developing art exhibitions and programming for the art museums in Bogotá and 28 cultural centers throughout Colombia with free access and gratuitous cultural services. Laura previously held possitions at Andras Szanto LLC, at the Sotheby’s Museum Network and at Nueveochenta Contemporary Art Gallery. Laura is the Founding Director of Global Warning Agency, a foundation with 12 years of operations, committed to sustainable and creative development with headquarters in Colombia.
Recognized as Global Changemaker in 2008 by the British Council, and as Climate Champion and One Young World Ambassador in 2011, she has participated as panelist and guest speaker in numerous international events such as the World Economic Forum, CIVICUS, Global Power Shift, TEDxYouth and the United Nations Civil Society Forum for her work building bridges between sustainability and creativity.
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The AMA holds one of the world’s leading collections of modern and contemporary art from the Western Hemisphere. It is OAS’s principal cultural diplomacy tool for promoting “more rights for more people." It exhibits, collects, studies and conserves modern and contemporary art of the Americas, in order to promote cultural exchange to advance the OAS four pillars of democracy, human rights, multidimensional security, and integral development.
The Art Museum of the Americas is the oldest museum of modern and contemporary Latin American and Caribbean art in the United States. It is part of the Organization of American States (OAS), an international public organization whose aim is to promote democracy, peace, justice, and solidarity among its 35 member countries. AMA’s origins date back to the Visual Arts Unit of the Pan-American Union (now the OAS), and in the mid-20th century grew as an early catalyst of the parameters of modern art in Latin America and the Caribbean. Today the collection has more than two thousand works complementing and documenting this regional focus. Much of the importance of this art collection is in its specialization on works that proved instrumental in the launching, particularly in the United States, of the careers of many who are now regarded as masters of mid-century Latin American and Caribbean art. The collection represents artistic trends that have developed in Latin America, including new figuration, geometric and lyrical abstraction, conceptual art, optical, and kinetic art. AMA continues to organize exhibitions and programs with emerging and established artists, providing a space for cultural expression, creativity, and dialogue while highlighting issues central to the OAS (democracy, equitable development, human rights, justice, and innovation) through the arts. This mission is strengthened through cutting-edge programming emphasizing high caliber art that simultaneously furthers dialogue on current relevant social and political matters.
Banco de la República, the Central Bank of Colombia (BR)
Over the years, Banco de la República, the Central Bank of Colombia (BR), has structured a long-term cultural project that contributes to managing the nation's cultural heritage, promotes access to knowledge, and helps consolidate the sense of citizenship. It is through two great lines of work—economic and cultural—that the Bank fulfills its mission of contributing to the well-being of Colombian citizens.
Through a cultural network that reaches 29 cities in the country, the Bank has turned cultural management into a sustainable, accessible, and inclusive model that promotes reflection and critical thinking and which stands as a reference for other institutions. With these objectives, it continuously and efficiently carries out actions related to music endeavors as well as those pertaining to plastic arts and the documentary, numismatic, philatelic, archaeological, and ethnographic collections.
Banco de la Republica’s national cultural project is carried out in the cities of Armenia, Barranquilla, Bogotá, Bucaramanga, Buenaventura, Cali, Cartagena, Cúcuta, Florencia, Girardot, Honda, Ibagué, Ipiales, Leticia, Manizales, Medellín, Montería, Neiva, Pasto, Pereira, Popayán, Quibdó, Riohacha, San Andrés, Santa Marta, Sincelejo, Tunja, Valledupar, and Villavicencio, as well as in the virtual realm through its collections and programming.
Each of these cultural centers is a space designed according to the vocation and needs of the region and its public. Likewise, their collections, cultural services, and ongoing programming respond to these needs. By operating as a networked system, cultural centers develop their work through constant interaction in order to provide more complete and comprehensive services to their communities.