DIANA LONDO Ñ O
CV
Diana Londoño AKA Avsentha has a Master's degree in drawing, illustration, comics and audiovisual creation in Granada, Spain, 2020, a Master in Plastic and Visual Arts from the National University of Colombia 2015, a Master in Fine Arts from the Jorge Tadeo Lozano University in Bogotá 2009 and He is currently developing a master's degree in science and technology in architectural heritage at the University of Granada, Spain.
His work is characterized by its dystopian urban settings, in which modern architectures, electronic elements and absurd structures merge under a gaze that oscillates between disenchantment in front of contemporary cities and contemplation and admiration for the forms that the same they generate.
Diana has exhibited his work in Archigraphicarts 7 held in the framework of ARCHMoscow (2020), Catacomba in Moscow (2020) ExMachina Gallery Barcelona (2020), South Shore Art Center in Massashusetts (2018), AP gallery in Toulouse (2018), the Ayden Gallery in Vancouver (2015), the CCCB in Barcelona (2015) and the “4th Biennial of New Talents” and the Kathe Kolwitz Museum in Cologne (2014)
He has participated collectively in national exhibitions such as: La Feria del Millon (2019), Barcú, (2019) Lenguaje de Papel, Galería el Museo (2017, 2018, 2021). Artecamara, at the ArtBo International Art Fair (2015). The 7th Salon of Young Artists, Club el Nogal (2013). The 5th Colsanitas Young Art Salon, in the La Central Gallery (2012) and the 9th Diversity Art Salon (2010), among others.
MENTIONS
2020- Winner of the Archigraphicarts 7 call, in the fantasy architecture section, exhibited at ARCHMoscow 2020.
2020- Winner of the 2086 call: Into the future awarded by the Ex-machina gallery, Barcelona Spain.
2019- Honorable mention. Urban sketchers. Colombian Architects Association
2013-2015- Selected project "Utopias para profanos" by the national program to support graduate students to strengthen research, creation and innovation at the National University of Colombia.
2014- Winner of the scholarship for national and international circulation. IDARTES.
2013- Winner of the exhibition grant for the Santa Fe Gallery, IDARTES temporary headquarters.
2010-9th Special mention for the winner, 9th National Exhibition of Art of Diversity 2010.
INDIVIDUAL EXPOSITIONS
2018. LIMERENCE. AP Galeria Toulouse, France.
2015. OVERLINES. THE PATCH, Exhibition space and Artistic residencies, Bogotá.
2014 ENDLESS. Santa Fe Gallery. Bogotá. Colombia
2012 DEADLINE, Universidad de los Andes project room.
COLLECTIVE EXHIBITIONS
2020. ARCHIGRAPHICARTS 7 Finalist exhibition. ARCHMOSCOW 2020. Moscow, Russia.
2020. THE ATTRACTION OF PAPER SHEET. Catacomba studio. Moscow, Russia.
2020. YEAR 2086 INTO THE FUTURE Gallery Exmachina. Barcelona, Spain.
2018 STREETARTISTS Boston-Bogotá. South Shore Art Center. Cohasset, USA
2018. LIMERENCE. AP Gallerie, Toulouse, France.
2015. GRATA SURPRISE, Ayden Gallery. Vancouver, Canada.
2015. IMAGO MUNDI, VENICE BIENNIAL, Fondazione Giorgio Venice, Italy.
2015. UNDERGROUND CITY 02, Teatre clavé Tordera, Spain.
2015. CITY SUBTERRÁNEA 02, Center of Contemporary Culture of Barcelona.
2014 4th BIENNIAL NEW TALENTS Cologne, Germany.
2014 KÄTHE KOLLWITZ MUSEUM Cologne, Germany.
NATIONAL EXHIBITIONS
2021 PAPER LANGUAGES. Gallery the museum. Bogota Colombia.
2019. BARCU, SPOTHLIGHTS. The candelaria. Bogota Colombia.
2019. MILLION FAIR. San Juan de Dios Hospital. Bogota Colombia.
2019. URBAN SKETCHERS. Association of architects of Colombia.
2019. SPRING. Cajicá cultural center.
2018 ASONATORS. Casa Bolivar Cultural Center. Bogota Colombia.
2018 PAPER LANGUAGES. The Museum Gallery. Bogota Colombia.
2017. PAPER LANGUAGES. The Museum Gallery. Bogota Colombia.
2015. A GREAT SURPRISE. Van Staseghem Space. Bogota Colombia.
2015. XI Monographic Exhibition of Media Art, XIV International Festival of the Image.
Manizales, Colombia.
2015. DRAWING TESTS. Creation Laboratory «El Parqueadero»
Museum of Bank of the Republic. Bogota Colombia.
2014 ARTECÁMARA, ARTBO, International Art Fair of Bogotá, Bogotá.
2014 FRONTERAS FRANQUEADAS, Higher Academy of Arts of Bogotá (ASAB)
Dialogues between Art and Architecture. Bogota Colombia.
2013 7th YOUNG ART SALON, Club El Nogal, Bogotá, Colombia.
2013 COLOMBIAN ART, Club El Nogal, Bogotá, Colombia.
2012 5th COLSANITAS YOUNG ART SALON, Galería la Central, Bogotá.
2012 INOPORTUNE EXTRACURRICULAR ACTIVITY, Espacio 101, Bogotá-
2011 11 A LA CARTE, Square House Gallery. Bogota Colombia.
2011 9th NATIONAL HALL OF ART DIVERSITY 2010, Casa Cuadrada Gallery,
ARTISTIC RESIDENCES
2018 LIMERENCE. Collective Guayabo. Toulouse, France
2015. UNDERGROUND CITY 02, Teatre clavé. Tordera, Spain.
STUDIES
2020-2021. Master of Science and Technology in Architectural Heritage.
2020 Master in Drawing, illustration, comic and audiovisual creation. University of Granada. Spain
2015. Master in Plastic and Visual Arts. Bogotá National University of Colombia
2009 Master of Fine Arts Bogotá Jorge Tadeo Lozano University
OTHER STUDIES
2016 2017 Specialization in bilingual teaching UNICA Universidad Centro Colombo Americano
2013 Diploma in basic astronomy. Sergio Arboleda University.
2011 - 2012 Blood and paint technique. La Attic Workshop
2011 Metal and linoleum engraving. Umberto Giangrandi Workshop
2010 Basic and advanced Tiffany stained glass. Stained Glass ABC
P U B L I C A T I O N S
Creative act: Creation architecture and design.
Cortes Garzon Liliana ED.
Bogotá Pilot University of Colombia 2020
Beyond the lines. Coloring book.
Editorial Cainpress. 2017.
Photodramas.
Compendium of fotonovelas made by various artists.
Ed Malevo. 2019.
Flashes from Colombia
Contemporary artist from Colombia
Imago Mundi. Luciano Benneton Collection
https://falereshop.myshopify.com/products/flashes-from-colombia
E X H I B I T I O N S
T E X T S
BARCÚ
Diana Londoño presents the project on lines and cities, a series of drawings that reflect on the artificial and aesthetic reality of urban architecture. This work draws on historical sources such as Escher's engravings or the German expressionism film Metrópolis (1909 Fritz Lang) but responds to his experience of the local context of the city of Bogotá. The known reality is decanted through an artistic language that plays with the surrealist referent. Londoño makes these works with pencil or rapidgraph on paper, in a methodical and precise way. we see impossible architectures, growing everywhere, in historical and contemporary styles, mixed like weeds. The city or the structures that allude to this seem like a repetitive machine, sometimes an uncontrolled jungle forest. All monochrome, industrial, inhuman. Indeed we do not find people or nature in their settings that become metaphorically dystopian.
Charity Bottle *
Barcú Fair
Bogota Colombia
2019.
Curator
INHABITING THE INHABITABLE
“Architecture is the inevitable art […] The blind cannot
see pictures and the deaf cannot hear music, but both
They are obliged to deal with architecture, like everyone
humans. Architecture, more than just being
a mere shelter or protective umbrella, it is also the
physical chronicle of human activities and aspirations "
Leland roth
Cities are configured through the need to inhabit. From the construction of houses, large buildings, bridges and roads, the city speaks of the way of being in the world of a group of people who, taking into account their context and the social dynamics that surround them, forge structures that make their way of life possible. From Heidegger's perspective, it could be said that living and building are closely related; According to the author: “[…] building is not only a means and a way to inhabit. Building is, in itself, inhabiting. " (Heidegger, 2002, p. 1).
It is from this understanding that architecture takes place in its most basic form: functionality, firmness and beauty. However, the development of industry and technology has designed a new way of building that has reduced the architectural exercise to the construction of purely functional spaces. This is not only evident in the factories and companies to which an important part of the territory is dedicated, but also in the construction of increasingly narrow family homes.
This way of understanding architecture conditions the structure of families, social dynamics and the possibilities of enjoyment and recreation within the built space. Previously, houses were built according to the number of people that made up a family, their tastes and habits. However, the establishment of capitalism brought with it the reinterpretation of 'dwelling', leaving aside the humanistic nuance of the concept in which it is related to thinking, to reduce it to the simple fact of dwelling or using a space as a refuge, without interpreting it or think about it.
The concept of 'inhabiting' in Diana Londoño's work is diluted by the saturation of buildings and the obsession with their perfection. Large cities are shown as an apology for human capacity that moves between the paradox of building and destroying. On the one hand, the hands of man boast of forging great structures that, within their artificiality, challenge the divine capacity; on the other hand, that which is born from the hands of man has as a condition the destruction of that which is in the world. Londoño reveals in the detail of his works a denunciation of the predatory nature of progress in which the development of cities leads to the annihilation of life.
The perfection of the straight line and the saturation of details in Londoño's work blur the human gesture and equate to the creation of a machine. In this way, the artist immerses herself in the rigidity of artificiality and explores its beauty to denounce it from within. The chaotic and dystopian tone of its cities create an aura of tension where life is missed and the presence of empty spaces that allow the viewer to breathe. What is impressive about the work is not only the perfection of the technique that speaks for itself, but the ability it has to enter into a dialogue with the viewer in which the saturation of the cities drawn is extrapolated towards the viewer and manages to show the discontent of the artist with the careless expansion of these.
Bibliography
Heidegger, M., & Gebhardt, AC (2002). Build, inhabit, think. Alcion Ed.
By: Laura Natalia Díaz Cruz *
Philosophy National University of Colombia
2019
THE STRAIGHT LINE OR THE UNBEATABLE OF OUR CITIES.
If the relevance of cities in the dawn of the western world is remembered. One could bring to mind the idea of the dialectical relationship between the shaping of the body and that of the city. In Greece, bodies could be exhibited as well as ideas and opinions. The city was the reflection of the attitude of the Greek citizen with the body, that is to say that the relationship that they had with a lover was the same that one had with the city, therefore the words that are used had the same character, be it for with the city, be it for the one who loves.
Body heat is related to enthusiasm for things in the city, that is, a warm body does not need clothes and its attitude is more committed to the polis, unlike a cold body. The relationship of unity of words with deeds becomes important. In this way the voice had a place in the architecture of Athens, since its spaces were arranged for the use of the voice of the citizens, either to be in silence while listening to a work, or for food and murmuring.
The open spaces were intended for discussion and participation in legal matters. The stoas, stoas, the agora, agora, the Jloa, thloa, the temples, the Jeatron, or the scene, the latter allowed not only the handling of the voice, but also enhanced it with the arrangement of the chairs, as it was arranged in diagonal way, which prevented the voice from dispersing, also facilitated the gaze of the spectators on who was presented.
But more than modeling the body, the construction of cities was willing to know about nature, about that , nature that loves to hide.
Diana Londoño's work rigidly draws, not only the antipode of the city in a century without movement, the rigidity of a future time installed in the immediate, static, hieratic present. The gods have fled, and the spaces of their temples have been filled with desecrated and dead objects.
Bodies die to become machines. Now corpses are piled up that are forgotten. The body that once inhabited the city, mutates into a silent and noisy machine. The cities that the artist draws lack curved lines, taking away any possibility of life, this absence dislodges the human, and instead presents the obsessive rigidity and the unbearable of rest. Death.
They are horizontal, vertical and oblique lines that cover the deaf cry of anguish to show it. Straight lines have dominated the curves of nature. The untamed line has finally been subjected to calculation and planning.
Unlike the city of Athens in the 5th century AD, Diana Paola's strokes hide the body and place it in the darkness of oblivion. The voice is hidden behind the silence of the cement and concrete constructions.
The naivety of primitivism is overcome and crushed by the cynicism of architectural reason. Life has perished behind the rigidity of buildings. the it petrifies and shows the city in its immobile, catatonic version with nothing more to express than the deaf anguish of loneliness and death.
Drawing typical of the era of modern technique, whose essence underlies the attitude of the human that extracts the energy of time, of what exists, to accumulate it, leaving a halo of death and silence.
What more presentation of the unbearable of contemporary cities. The very questioning of the rigidity of that machinery of capital that swallows up of desire, which swallows what is always revealed to preserve its most hidden secret. Nature,
By Juan Carlos Suzunaga Quintana *
* Msc. Psychologist with an emphasis on psychoanalysis, socialties, and Culture
4th Biennial new talents Cologne.
Germany
2014