The group show, featuring 15 contemporary Colombian artists, is a difficult plunge into the trauma inflicted upon the country due to its horrendous, five-decade-long civil war
The best art exhibitions are sometimes the most difficult to consume. That is surely the case with “Colombia: The Corn, the River, and the Grave,” the raw and ambitious offering currently at Denver’s Museo de las Americas.
But the show also documents how all of those things are now experienced by many through the filter of a violent conflict that took the lives of 220,000 people; terrorized multiple generations; forced bitter political strife; and lead to environmental disaster. But, as Arias — one of the most influential artists in Colombia today — makes clear, the horror only shifted form, from the violent exploitation of invading Europeans to the brutal warring of the modern-day Colombians who took control and continue to menace people and terrain.
For her series “Downriver,” she asked families to give up one piece — a precious shirt or a party dress — which she then submerged in tubs of water and photographed from above using a large-lens camera. The pieces are colorful, hyper-personal and mournful at the same time, signaling the ebb and flow of memories and the lasting power of faith. Diettes printed them directly on glass; they are fragile objects taking on a delicate idea.
Similarly, Carmenza Estrada and Sebastián Sánchez use iconic elements of Colombian culture in their pieces. Estrada works out her grief over burying a child by reducing actual photographs into pixilated images, which she then reinterprets in thread, using a traditional cross-stitch technique that is a specialty in the eastern city of Cartago.
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