{"id":3506,"date":"2022-06-01T22:19:34","date_gmt":"2022-06-01T22:19:34","guid":{"rendered":"https:\/\/nadinospina.org\/?page_id=3506"},"modified":"2024-10-22T23:00:22","modified_gmt":"2024-10-22T23:00:22","slug":"biografia","status":"publish","type":"page","link":"https:\/\/nadinospina.org\/en\/biografia\/","title":{"rendered":"Biography"},"content":{"rendered":"

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1960<\/strong><\/p>\n\n\n\n

Born in Bogot\u00e1, Colombia, on May 16, 1960, son of lawyer Nad\u00edn Ospina and Lucy Valbuena. He studied at the Jesuit school San Bartolom\u00e9 de la Merced, where he acquired a rigorous education and a social and political conscience focused on the problems of the people of Latin America.<\/p>\n\n\n\n

1977<\/strong><\/p>\n\n\n\n

Influenced by his family and driven by his interest in humanism and science, he studies medicine at the Javeriana University in Bogota, where he approaches a cosmogonic vision of man and marvels at the human body and its artistic representation, but becomes disenchanted when confronted with the reality of medical practice at the time and decides to unenroll.<\/p>\n\n\n\n

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1979<\/strong><\/p>\n\n\n\n

He studies plastic arts at the Jorge Tadeo Lozano University in Bogota. With an intellectual curiosity that is not satisfied with the conventional, he turns his life into a creative experience of permanent discovery. He meets and becomes friends with his teachers: Miguel Angel Rojas, German Linares, Momo del Villar and Luis Hernando Giraldo who push him towards a future of personal search against the conventionally established at that time.<\/p>\n\n\n\n

1980<\/strong><\/p>\n\n\n\n

He is a student of Beatriz Gonzalez at the School of Guides of the Museum of Modern Art,<\/strong>sharing with Doris Salcedo, Jos\u00e9 Alejandro Restrepo and Carolina Ponce, among others, in a study group where art history is discussed, texts are read, research is done and anecdotes are shared. <\/p>\n\n\n\n

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1981<\/strong><\/p>\n\n\n\n

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He lives here his first paradox of which his life is full: considering that he did not meet the traditional aesthetic standards, and about to finish his training, the dean of his Faculty invites him to retire for his \"lack of talent\" and to \"devote himself to something else in life\", \"do your parents a favor\", phrases that leave him devastated, with such good fortune that days later he is chosen by the curator Alberto Sierra for the First Arturo and Rebeca Rabinovich Salon,<\/strong>an event created with the support of the Museum of Modern Art of Medellin, for the promotion and the diffusion of young, university and contemporary art. He wins an honorable mention.\" This circumstance saved my artistic career and even my life\",<\/em>in Nad\u00edn's words.<\/p>\n\n\n\n

1982- 1984<\/strong><\/p>\n\n\n\n

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He is selected by the curator Eduardo Serrano to participate in the  VIII Sal\u00f3n Atenas<\/strong> of the Museo de Arte Moderno de Bogot\u00e1. Event that introduces relevant figures for the Colombian contemporary plastic art such as Miguel \u00c1ngel Rojas, Antonio Caro, and Nad\u00edn himself, among others.<\/p>\n\n\n\n

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He produces \u201cMovimientos\u201d (Movements)<\/strong>: \u201c\"Repeated but independent objects to form works in which the final arrangement, the insistence and the chromatic richness collaborate to introduce us into an innocent and poetic world\"<\/em>writes Eduardo Serrano.<\/p>\n\n\n\n

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 \u201c\"Juegos en el campanario\" (Games at the bell tower),<\/strong>this series, marks a definitive path in terms of the simultaneous use of techniques and procedures (painting and sculpture) as well as the appropriation of the museum space.<\/p>\n\n\n\n

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In 1984 he met his wife Mirella Cabrera, with whom he lived for 30 years until her death in 2014.<\/p>\n\n\n\n

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1985-1987<\/strong><\/p>\n\n\n\n

Holds his first institutional solo exhibition: \"Collages\"<\/strong> at La Casa de la Moneda in the space New Names<\/strong> in Bogota. A program focused on promoting and promoting the work of emerging artists. Curated by Carolina Ponce de Le\u00f3n.<\/p>\n\n\n\n

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He develops a particular fondness for collecting diverse types of objects including contemporary art, pre-Columbian pieces, toys and popular crafts.<\/p>\n\n\n\n

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A year later, he is included in the anthological exhibition Cien a\u00f1os de Arte Colombiano<\/strong>, held at the Museo de Arte Moderno in Bogota on the occasion of the launching of the book Cien A\u00f1os de Arte Colombiano 1886-1986<\/strong> written by Eduardo Serrano. Nad\u00edn participates as one of the youngest artists of the moment.<\/p>\n\n\n\n

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With his work:\"San Sebasti\u00e1n\"<\/strong> (Homage to Mishima), he is invited in 1986 for the first time by the Colombian Institute of Culture to the XXX Sal\u00f3n Anual de Artistas Colombianos<\/strong>a contest in which he participates uninterruptedly until 1996, Referring to the works of this period, historian Germ\u00e1n Rubiano argues: \"his works can be seen as paintings with unconventional supports -made paintings- in most cases, sprinkled with many colors on a monochromatic base-or as sculptures made with canvases and wires, with papier mach\u00e9 and, in recent years with polyester resin, whose surfaces appear coated with bright colors, splashed and dripped\".<\/em><\/p>\n\n\n\n

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He develops new techniques in the field of sculpture, creating installations that appropriate the museum space with independent volumetric elements of rich color. With this series he takes a step from abstraction to figuration, which he never abandons in the course of his career.<\/p>\n\n\n\n

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1988<\/strong><\/p>\n\n\n\n

Wins the Francisco de Paula Santander Scholarship<\/strong>, from the Colombian Institute of Culture. Award that allows him to work for 2 years to produce the work \"Los Estrategas\" (The Strategists)<\/strong>. Installation of 150 tapirs in polyester resin. Eduardo Serrano writes: \"his works have a certain air of pi\u00f1ata, nativity scene or carnival, leading the viewer to a state of mind - between consciousness and innocence, the transcendental and the festive - in which his ideas operate more effectively\".<\/em>.<\/p>\n\n\n\n

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Participates in the I\u00aa Bienal de Arte de Bogot\u00e1 del Museo de Arte Moderno de Bogot\u00e1<\/strong>, with the series \"Amazon\u00eda\"<\/strong>: Three-dimensional painted pieces executed in polyester resin, representing animals of the American and Colombian fauna with a totemic sense. A search for cultural identity and symbolism associated with pre-Columbian cultures.<\/p>\n\n\n\n

He participates in the exhibition Doce Mundos Colombianos<\/strong>, at the Grand Palais in Paris and at the Babstadt Castle in Germany curated by Adrian Torre<\/p>\n\n\n\n

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1989<\/strong><\/p>\n\n\n\n

Wins Second Prize in the \"Concurso de Arte Ciudad Salitre Bogot\u00e1\",<\/strong> as a result in the public space of a business center in Bogota is installed in the work \"Pr\u00edncipes\" (Princes), <\/strong>eight bronze deers that run through the architectural space.<\/p>\n\n\n\n

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Represents Colombia in 1989 at theXX Bienal Internacional de Sao Pablo<\/strong> with the series \"Amazon\u00eda\"<\/strong>.<\/p>\n\n\n\n

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1990 The collection of the Bass Museum of Miami acquires his work \"Los pensadores\" (The thinkers).<\/strong>1989. Acrylic and mineral pigment on canvas, polyester resin and motors. 150 x 60 x 60 cm.<\/p>\n\n\n\n

1990<\/strong><\/p>\n\n\n\n

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Finishes the work \"Los Estrategas\" (The Strategists)<\/strong>. John Stinger, curator of the Art Gallery of Western Australia in Pert, acquires it for the collection. Fortunate coincidence: the first work of art sold and the birth of his daughter Mariana.<\/p>\n\n\n\n

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In the\" Santuario\" (sanctuary) <\/strong>de 1991, el artista introduce el uso del azul cobalto como el color de los sue\u00f1os,  de lo sacro, de lo ultraterrenal, de lo m\u00edstico, del delirio. Carmen Mar\u00eda Jaramillo comenta en la revista Arte sobre la exposici\u00f3n realizada en la Galer\u00eda Arte 19 de Carlos Alberto Gonz\u00e1lez: \"Upon entering the gallery, we find few works, arranged by the sculptor in a sober and ascetic manner. The use of colors such as black and blue in a vibrant and deep tonality, an organized and symmetrical arrangement and the figurative mood of the pieces, achieve that atmosphere where the magical and the sacred coexist. In the works there is a fusion of images belonging to different cultures located throughout history, in which East and West, civilization and barbarism converge\".<\/em><\/p>\n\n\n\n

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1992<\/strong> Is invited to the exhibition \"De Bogot\u00e1 a Caracas\"<\/strong> at the Museo de Bellas Artes de Caracas, where he participates  <\/strong>with the piece \"\u00c1rbol de la Esperanza\"<\/strong> from the series \"Amazon\u00eda\"<\/strong>. The work became part of the Museum's collection.<\/p>\n\n\n\n

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He is invited to make a work in situ at the \"Encountering the Others\"<\/strong> event in Kassel, Germany, an exhibition parallel to Documenta. There he lives the first and definitive contact with international art, the confrontation with the great figures of international art and the experience of seeing installations such as those of Nam June Paik, Bruce Nauman and Anish Kapoor, opened even more for Nad\u00edn his spatial world.<\/p>\n\n\n\n

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A fond collector of pre-Columbian art, very popular at the time, he got his hands on a ceramic representing a shaman of the Hama-Cocaque culture of Ecuador, Nad\u00edn learned from expert friends that the piece was a fake. Alvaro Medina refers to this circumstance: \"The disappointment he felt when he discovered that he had been deceived, with forgeries, led him to ask himself what value they might have. That value, he quickly discovered, could depend on him, on the use he wanted to make of them\".<\/em> Empieza a dar vueltas en su cabeza el mundo de la falsificaci\u00f3n, idea que conecta con el tema de la simulaci\u00f3n en la obra de arte. Con estas reflexiones decide  hacer r\u00e9plicas de piezas de culturas prehisp\u00e1nicas.<\/p>\n\n\n\n

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Carolina Ponce de Le\u00f3n writes in the magazine Poli\u00e9ster of Mexico: \"\"He wins the prize of the XXXIV Sal\u00f3n Nacional de artistas colombianos, the most important contest in Colombia, with a work entitled: <\/em>\u201c\"In paritibus infidelium\" (In lands of infidels)\u201d<\/em><\/strong> (<\/em>En tierras de infieles<\/strong>) that recreates a museum installation of \"pre-Columbian\" objects imagined with new \"ancient\" forms, manufactured by contemporary indigenous people and set with painted jungle walls and cicada noises...\".<\/em><\/p>\n\n\n\n

The jury for the event consisted of Luis Camnitzer, Gloria Delgado, Diego Mazuera, Ivonne Pinni and Edward Sullivan.<\/p>\n\n\n\n

1993<\/strong><\/p>\n\n\n\n

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He develops the idea of \"falsification\", comes into contact with ceramists from different regions of Colombia and produces works with his own ideas, no longer simple reproductions. The first work of this new series is \"Los Cr\u00edticos\" (The Critics):<\/strong>:<\/em> a Bart Simpson and a Buddha produced in the Tairona ceramic style. From this moment on, he makes a radical decision in his career and delegates the physical production of the work to specialized craftsmen. In the artist's words: \"A fundamental factor of refiguration is to meticulously copy with a purpose of \"deception\" the original subjected to the exercise of appropriation, just as art forgers do\"<\/em><\/p>\n\n\n\n

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Through a pre-Columbian merchant, he managed to get in contact with the forgers and with them he made the first piece in stone in the style of the statuary of the culture of San Agust\u00edn: \"Cr\u00edtico Ext\u00e1tico\" (Ecstatic Critic).<\/strong>.<\/p>\n\n\n\n

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With his wife Mirella he travels for long periods of time to San Agust\u00edn, a region of Huila, a department in southern Colombia where the largest complex of pre-Columbian lithic statuary and one of the largest necropolises in the Americas is located. There he finds the connection with the pre-Columbian world that is the foundation of his work and the stone carving artisans who preserve the tradition of the ancestral craft, with whom he works.<\/p>\n\n\n\n

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In 1993, he held the exhibitions \"Fausto\" <\/strong>and \"Bizarros & Cr\u00edticos\"<\/strong> at the Arte 19 gallery in Bogota. Two fundamental stagings for his work and an obligatory reference in Colombian and Latin American art.<\/p>\n\n\n\n

In the exhibition \"Fausto\"<\/strong> Nad\u00edn acquires a gigantic painting by the artist Carlos Salas, a work that he breaks into fragments and exhibits as his own in the midst of a staging that involves sounds of applause and changing lights, highlighting the \"end of authorship\" and affirming the resource of appropriation.<\/p>\n\n\n\n

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In \"Bizarros & Cr\u00edticos\" <\/strong>he presents for the first time a group of works based on the production of pieces with pre-Columbian techniques and popular contemporary images. This is the beginning of the series \"el Gran Sue\u00f1o Americano\" (The Great American Dream)<\/strong>. Art historian and critic Javier Gil writes: \"The artificial figures, elaborated with the greatest technical precision, reveal the fissures, cracks and discolorations that time imprints on ancient objects. In such virtue the exhibition produces the strangeness of what is and is not at the same time, of the serious and ironic, of the real and the simulated\".<\/em><\/p>\n\n\n\n

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En la revista mejicana POLIESTER  de diciembre de 1995, dedicada al cambio en los modos de producci\u00f3n en el arte contempor\u00e1neo, Carolina Ponce de Le\u00f3n escribe: \"The resource of appropriation became a fundamental piece of gear in the work of Nad\u00edn Ospina\".<\/em><\/p>\n\n\n\n

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Guest of the Sal\u00f3n Pirelli<\/strong>, at the Museo de Arte Contempor\u00e1neo, Caracas, the only event of its kind in Venezuela that exhibits the work of artists who approach contemporary languages. Participates with Alexander Ap\u00f3stol, Fernando Arias and Pablo Van Wong among others.<\/p>\n\n\n\n

1994-1996<\/strong><\/p>\n\n\n\n

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He participates with \"Bizarros y Cr\u00edticos\"<\/strong>, en  in the 5\u00aa bienal de la Habana<\/em>, a space-specific intervention at the Bolivar House in old Havana.<\/p>\n\n\n\n

Javier Gil points out in his essay La Simulaci\u00f3n de Nad\u00edn y Simpson<\/strong>: \"In any case, the serial reproduction of Simpson men, beyond the smile that awakens its allusion to the critics, is an object that reveals the deterritorializations of contemporary culture. This figure synthesizes the unique product with industrial production, the original with the massive, the sacred with the everyday, the past and the present, the popular and the elitist, the fleeting with the permanent. It merges the most radically different, making explicit their unexpected proximities, we could almost say that the pre-Columbian Simpson becomes a happily mocking and playful symbol of many of today's cultural displacements\".<\/em><\/p>\n\n\n\n

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Da clases en la facultad de artes en la Universidad Jorge Tadeo Lozano y en la Universidad de los Andes en Bogot\u00e1, talleres de creaci\u00f3n en los que permite y fomenta que cada alumno trabaje en  sus propios procesos.<\/p>\n\n\n\n

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He began his international career when the German collector of international art Peter Ludwig, sponsor of the la Bienal de la Habana<\/strong>, made a selection of works by artists to be exhibited at the Ludwig Forum Museum in Aachen. Apparently the packaging that was to be used in the packing of his work was left behind in Cuba, the ceramic and stone pieces were severely damaged and broken when they arrived at their destination. Even so, the collector decided to restore the entire work and acquire it, creating a permanent exhibition space in this museum. Nad\u00edn lives then another paradox: A dramatic moment that seems a failure becomes the door to international promotion.<\/p>\n\n\n\n

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He participates in the artistic exchange Colombia-Mexico: \"Por mi raza hablar\u00e1 el esp\u00edritu\"<\/strong> in Mexico City, a trip that expands the possibilities of plastic production, there he gets in contact with artisans of pre-Columbian pieces, and makes in polyester resin an extensive series exhibited at the Museo del Chopo of the UNAM, under the direction of Lourdes Monge and the curatorship of Rosalba Garza and Paloma Porraz. The exhibition is shown the following year at the Luis \u00c1ngel Arango Library in Bogot\u00e1.<\/p>\n\n\n\n

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1997<\/strong><\/p>\n\n\n\n

Wins the Guggenheim Foundation Fellowship<\/strong> in New York. His project is to tour Latin America and visit the archaeological sites of the area: Bolivia, Peru, Ecuador, Mexico and Costa Rica to make pieces in each of these places with local artisans.<\/p>\n\n\n\n

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In 1999 he exhibited this work at the Museo de Arte Moderno de Bogot\u00e1 in the show:\u201cViaje al fondo de la tierra\u201d(Journey to the bottom of the earth)<\/strong>. This way the repertoire of pre-Columbian models and its consequent crossbreeding, expanded to the multiple iconography of the diverse pre-Columbian cultures of America.<\/p>\n\n\n\n

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As a final part of the project, the artist hires a group of painters to execute a series of images in the manner of scientific travelers. From this work emerge the\"Bodegones Coloniales\"<\/strong> based on Zurbar\u00e1n's painting and \"Instinto Caribe\"<\/strong> a parody of the Renaissance portrait based on the image of a Tairona dignitary taken from a pre-Columbian ocarina.<\/p>\n\n\n\n

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From this moment on, he participates in international art auctions such as Christie's and Sotheby's.<\/p>\n\n\n\n

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Selected for the Luis Caballero Award<\/strong> of the Instituto Distrital de Cultura y Turismo de Bogot\u00e1, he presents the work \"Estrellas de Piedra\"<\/strong>, a curatorial simulation in which he involves works by anonymous artists and the public in a work of a processual nature. Through a series of advertisements in the press inviting unrecognized artists to send their works to a postal mailing, Nad\u00edn receives them and has them enlarged to a larger format by a hired professional painter, who is in the exhibition executing them.<\/p>\n\n\n\n

A critical parody that puts into practice the great post-modern debate on the crisis of authorship and reaffirms the operation of delegation of execution already introduced by the artist in his previous works.<\/p>\n\n\n\n

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1998<\/strong><\/p>\n\n\n\n

At the Medell\u00edn City Art Festival,<\/strong> an event sponsored by the Museo de Antioquia, Museo de Arte Moderno, the Universidad Pontificia Bolivariana and the Universidad de Antioquia, exhibits a piece based on the pre-Columbian altarpieces of the Quimbaya culture transferred to a format of gigantic dimensions, 8 meters high, with the characteristic of its portability as an inflatable piece, hence its name \"El Paseante\" (The Wanderer).<\/strong>Piece that travels to the Havana Biennial, the Venice Biennial, the Museum of Ethnography in Leiden and the Museum of the Americas in Denver.<\/p>\n\n\n\n

He participates in the exhibition Trasatl\u00e1ntico<\/strong>, at the Centro Atl\u00e1ntico de Arte in Las Palmas de Gran Canaria, and in \"Mouse: An American Icon<\/strong>, an exhibition at the Alternative Museum in New York.\"<\/p>\n\n\n\n

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Double Trouble<\/strong> , an exhibition from Tom Patchett's collection of nearly 300 works, is exhibit at the Auditorio de Galicia, in Santiago de Compostela, with the support of the Museum of Contemporary Art in San Diego, California. Nad\u00edn participates with the work  \"Pieza arcaica\",<\/strong>previously exhibited at the Museum of Contemporary Art in San Diego.<\/p>\n\n\n\n

1999 -2002<\/strong><\/p>\n\n\n\n

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7\u00aa Bienal de la Habana. \"El Paseante\" (The Wanderer).<\/strong><\/p>\n\n\n\n

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5e Bienal de Arte Contempor\u00e1neo de Lyon. \"el Gran Sue\u00f1o Americano\" (The Great American Dream)<\/strong><\/p>\n\n\n\n

Curator: Jean-Hubert Martin.<\/p>\n\n\n\n

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39\u00aa Bienal de Venecia. \u201cPaseante y Expansionistas\u201d (The Wanderer and Expansionists)<\/strong><\/strong><\/p>\n\n\n\n

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El galerista parisino Enrico Navarra lo invita a  la exposici\u00f3n itinerante  L'art \u00e0 la plage.<\/em> <\/strong>Exhibiting in Saint Tropez, Cannes, Ramatuelle and Tahiti. The exhibition includes artists such as Marina Abramovic, Robert Indiana and Niki de Saint Phalle.<\/p>\n\n\n\n

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In Costa Rica, with the curatorship of Virginia P\u00e9rez Ratton, director of the TEOR\/\u00e9Tica Foundation, Nad\u00edn works with Costa Rican artisans and pre-Columbian works, one of the most relevant projects of \"el Gran Sue\u00f1o Americano\" (The Great American Dream)<\/strong> called Pop-Colonialism.<\/strong>.<\/p>\n\n\n\n

They work together and in 2002 she is laureate of the Prince Claus Award with the text.\"The Art of Authentic Fraud\". \"<\/strong>. ...Ospina's work continues her appropriation of pre-Columbian, pre-Columbian, pre-colonial forms to highlight, in an ironic way, the neo-colonizing powers of the media as well as the total insertion in our daily iconography and in our imaginary, of figures and characters from animations created by Hollywood.\"<\/em><\/p>\n\n\n\n

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Participates in the IV Biennial Barro de Am\u00e9rica.<\/strong> Museo de Arte Contempor\u00e1neo de Caracas Sof\u00eda Imber. The curator Roberto Guevara convened this Biennial focused on the material or conceptual production related to the earth element.<\/p>\n\n\n\n

He is guest of honor at the International Art Fair of Caracas, FIA, <\/strong>and simultaneously carries out a large exhibition of his work at the Museo de Bellas Artes de Caracas.<\/strong><\/p>\n\n\n\n

He participates with a solo show at the FIAC in Paris represented by Gallery El Museo.<\/p>\n\n\n\n

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2002<\/strong><\/p>\n\n\n\n

He receives an invitation from the Argentinian curator Sebasti\u00e1n L\u00f3pez to intervene in the showcases of the Latin American art collection of the National Museum of Ethnology in Leiden, Holland. The Ground & the Real <\/strong>by Nadin Ospina. After an initial trip, he prepared a series of 30 pieces related to the collection that were installed in the showcases next to the originals without announcing it to the public and without detailed technical data sheets, which caused a great controversy, the most conservative considered it a desacralising intervention. The discussion widened, and at the same time the World Congress of Ethnography was held, where the subject of how this type of museum should return sacred pieces to their place of origin was proposed. Nad\u00edn once again defends his critical position against the scientific plundering of cultural property.<\/p>\n\n\n\n

2003-2004<\/strong><\/p>\n\n\n\n

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Exhibits at the Museo de Arte Moderno de Bogot\u00e1  \"El ojo del Tigre\" (The Eye of the Tiger),<\/strong>an inquiry into the cultural influence of the Orient in our environment.<\/p>\n\n\n\n

Natalia Vega writes: \"In this work, Nad\u00edn juxtaposes kitch oriental objects, elements of mass media, Japanese manga (comic strips) and anime (cartoons) characters next to canonical works of Chinese and Latin American archeology to generate new images on the computer that are later reproduced by her collaborators. While acknowledging the many sources of image generation and challenging the concept of originality, demystifying the notions of authorship and authenticity, he paradoxically presents his final work as a labor-intensive, perfectly crafted, handmade product\".<\/em><\/p>\n\n\n\n

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The Swiss collection Daros-Latin America, <\/em><\/strong>curated by Hans-Michael Herzog, opens its Z\u00fcrich headquarters with the anthological exhibition Cantos Cuentos Colombianos<\/em><\/strong>, a panorama of contemporary Colombian art. The curator brings together emblematic works by artists Doris Salcedo, Fernando Arias, Jos\u00e9 Alejandro Restrepo, Juan Manuel Echavarr\u00eda, Mar\u00eda Fernanda Cardoso, Miguel \u00c1ngel Rojas, Oscar Mu\u00f1oz, Oswaldo Maci\u00e0, Rosemberg Sandoval and Nad\u00edn Ospina. It is the largest exhibition of contemporary Colombian art in Latin America.<\/p>\n\n\n\n

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Wins the 1st prize at the XVIII Sal\u00f3n del Fuego <\/strong>of the Fundaci\u00f3n Gilberto Alzate Avenda\u00f1o in Bogota with the work \"Vengadores\",<\/strong> a large format ceramic installation of Japanese comic book characters. With this work he closes the series \"The Great American Dream\".<\/strong><\/p>\n\n\n\n

2005 -2009<\/strong><\/p>\n\n\n\n

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In the late 1990s, the Danish company's Lego Adventurers series included in its toys versions of scenes from all over the world, including Latin America, a representation that included pyramids, parrots, idols, tombs and local characters personified as sinister villains, with guns, daggers and machetes.<\/p>\n\n\n\n

His work Colombialand<\/strong> is a denounce of LEGO's wrongdoing and its appropriation of the Latin American \"clich\u00e9\". After the shocking discovery of this racist message, he began the production of ceramic pieces, but soon turned to an elaborate reproduction of the game pieces down to the smallest details, capturing their pop and technological spirit.<\/p>\n\n\n\n

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After showing in Bogota at La Universidad de Salamanca and at the Galer\u00eda Mundo, he exhibits the series Colombialand<\/strong> at the Centro Cervantes in Paris. An exhibition curated by the Spanish critic Jos\u00e9 Jim\u00e9nez. The work acquires an international dimension and is later exhibited at the Fernando Pradilla Gallery in Madrid.<\/p>\n\n\n\n

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Participates in \"The Hours\"<\/strong>. A traveling exhibition of Latin American art in: Visual Arts of Contemporary Latin America at IMMA. Irish Museum of Modern Art, Museum of Contemporary Art, Sydney, Australia, Museo Patio Herreriano. Valladolid. Valladolid, Spain. Along with other artists such as: Tania Bruguera, Oscar Mu\u00f1oz, Betsabe\u00e9 Romero and Doris Salcedo. Curated by the Argentinean Sebasti\u00e1n Lopez.<\/p>\n\n\n\n

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2010 \u2013 2011<\/strong><\/p>\n\n\n\n

Invited to the event La mar de M\u00fasicas <\/strong>bajo con la curadur\u00eda de Nacho Ruiz en la ciudad espa\u00f1ola<\/a> de of Cartagena.<\/a>He participates with \"Los expansionistas\",<\/strong> two 8-meter high inflatables, representing the famous monolithic stone Moai of<\/a> Easter Island, Isla de Pascua<\/a>located on the facade of the City Hall. At the same time, a complete retrospective of his work is exhibited at the Molina Palace.<\/p>\n\n\n\n

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A partir del viaje realizado a Inglaterra en 2008 por invitaci\u00f3n del Museo Firsite: Newsite de Colchester surge el proyecto: \"\u00cdnsulas\"<\/strong>was born, an installation composed of small pieces carved in stone that represent the icons of universal architecture executed in stone, a miniature world, a fantastic encounter that can only occur in the imaginary dimension of art.<\/p>\n\n\n\n

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Exhibits the first phase of the project at the Galer\u00eda Nueveochenta and later at the Botanical Garden of Bogota (2014) as part of the exhibition \"El bosque intervenido\" (The intervened forest) <\/strong> curated by Ana Mar\u00eda Lozano.<\/p>\n\n\n\n

2012<\/strong><\/p>\n\n\n\n

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Develops the work \"Oniria\" <\/strong>(2007-2012) A multimedia work in which he retakes the resource of the installation, various small format pieces that represent architectural elements and characters that come from the world of his dreams, of childhood, of toys. The exhibition is presented at the Museo de Artes Visuales de Universidad Jorge Tadeo Lozano in Bogota.<\/p>\n\n\n\n

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2013<\/strong><\/p>\n\n\n\n

Invited by curator Patrice Giasson to participate in the exhibition <\/em>Patrice Giasson a participar en la muestra  Pre-Columbian Remix: The Art of Enrique Chagoya, Demian Flores, Ruben Ortiz-Torres and Nad\u00edn Ospina.<\/em>: The Art of Enrique Chagoya, Demian Flores, Ruben Ortiz-Torres and Nad\u00edn Ospina. <\/strong>En el Neuberger Museum of Art de Nueva York.<\/p>\n\n\n\n

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In 2013 his work was exhibited in the exhibition Cantos Cuentos Cuentos Colombianos<\/strong>, which opened the Casa Daros<\/strong> in Rio de Janeiro, curated by Hans-Michael Herzog.<\/p>\n\n\n\n

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He works on the series \"Resplandor\",<\/strong>inspired by Renaissance images of travels in the age of discovery, prodigies, wonders and monstrosities. A critique of human cruelty through gilded bronze figures. With the brightness of gold, it highlights the greed and mistreatment that the indigenous people of our America received and receive.<\/p>\n\n\n\n

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In 2013, gallery owner Luis Fernando Pradilla inaugurated the new headquarters of his gallery El Museo de Bogot\u00e1 with the exhibition  \"La Suerte del Color\",<\/strong>an anthological exhibition of the artist that covers the entire space of the gallery.<\/p>\n\n\n\n

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2014<\/strong><\/p>\n\n\n\n

In his series \"Cr\u00edptidos\"<\/strong> (those supernatural or singular beings whose existence is known but not scientifically corroborated, such as dragons, big foot or extraterrestrials) he delves into a world of fantastic images that speak of prodigious beings. Color returns to his work in a vibrant way and full of historical references, revealing the biased vision of the other in today's societies.<\/p>\n\n\n\n

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Began a relationship with Elvia Mejia in 2014.<\/p>\n\n\n\n

2015 – 2016<\/strong><\/p>\n\n\n\n

Participates in the Primera Bienal Internacional de Asunci\u00f3n,<\/strong>Paraguay. Curated by Roice Smith. The works are exhibited in various spaces not necessarily artistic of the city, Nad\u00edn and Roice choose for the \"bodybuilders\"<\/strong> a gym.<\/p>\n\n\n\n

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At the same time, Nad\u00edn is invited by curator L\u00eda Colombino to intervene in the showcases of the Museo del Barro,<\/strong>a museum in Asunci\u00f3n dedicated to ethnology and contemporary Latin American art. The work  \"Fisiculturistas\"<\/strong>  entra a formar parte de la colecci\u00f3n permanente  del  Museo.<\/p>\n\n\n\n

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He works on the series \"Otros mundos\" (Other Worlds),<\/strong> a work inspired by the retro futuristic kitsch images of American cinema and television, in a clear reference to the world of fantasy literature and speculation about the existence of alien societies and their interaction with humanity. Pre-Columbian references reappear in allusion to the popular belief of extraterrestrial intervention in ancient societies. Colorful pieces with a strong pop character.<\/p>\n\n\n\n

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Creates the large format mural, \"Del<\/strong> Otro Mundo\" (De Otro Mundo)<\/strong> en el edificio Col\u00f3n del centro de Bogot\u00e1.<\/p>\n\n\n\n

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The Banco de la Republica Collection announces the acquisition for the permanent collection of the works \"Idolo con Mu\u00f1eca y Cincel\" (Idol with Wrist and Chisel)<\/strong> and \"Casa de X\u00f3lotl\" (The House of X\u00f3lot).<\/strong><\/p>\n\n\n\n

2017<\/strong><\/p>\n\n\n\n

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He works on the series \"Mutaciones\" (Mutations)<\/strong> in which the world of dreams and magic are intertwined in an approach to the poetics of esotericism.<\/p>\n\n\n\n

2018-2019<\/strong><\/p>\n\n\n\n

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In a change of attitude towards life circumstances and the art world, he reduces his artistic operation to the production of simple and poetic elements that materialize in the series \"La Preponderancia de lo Peque\u00f1o\" (The preponderance of the small)<\/strong> in which he presents a subtle connection with the natural universe representing birds of the Colombian region and retaking in a pictorial exercise the images of the Botanical Expedition.<\/p>\n\n\n\n

2020- 2021<\/strong><\/p>\n\n\n\n

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At the invitation of the Spanish curator Isabel Duran he develops the exhibition project \"Yo soy otro T\u00fa\" (I'm an other you)<\/strong>, which will be shown at the Museo de Antropolog\u00eda in Madrid in February 2020. The exhibition deals with issues related to intercultural encounters and the problems of today's world through references to the world of pop culture and pre-Columbian art.<\/p>\n\n\n\n

P\u00e1gina de la exposici\u00f3n.<\/a><\/p>\n\n\n\n

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Selected as a finalist of the Mutis Salon of the University of Antioquia with his work \"La preponderancia de lo peque\u00f1o\" (The preponderance of the small)<\/strong>, which is exhibited as a multimedia montage at the MUUA. University Museum of the University of Antioquia.<\/p>\n\n\n\n

P\u00e1gina de la exposici\u00f3n<\/a><\/p>\n\n\n\n

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Nad\u00edn Ospina. September 2021 with the screening of the play \"La preponderancia de lo peque\u00f1o\" (The preponderance of the small)<\/strong>.<\/p>\n\n\n\n

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In 2021 he begins the series \"La manera de todas las cosas\" (The way of all things)<\/strong>, a poetic reflection on the relationship of humanity with the beings and elements of nature, summoning images of unusual events of the pandemic period in which the presence of animals in the uninhabited urban environments generated disturbing appearances. Likewise, this work is a remembrance of the surrealist aspect of the nativity scenes in which disparate elements are combined in a playful and absurd manner, outside of any realistic context, intermingling dissimilar times and motifs.<\/p>\n\n\n\n

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En 2022 comienza a trabajar la serie The persistence of desire<\/em> <\/a>conjunto de esculturas e instalaciones coloridas ejecutadas en impresi\u00f3n 3D a partir de archivos de libre disposici\u00f3n, llevando la pr\u00e1ctica de la apropiaci\u00f3n a un nuevo nivel.<\/p>\n\n\n\n

Instalaciones compuestas por piezas permutables que contin\u00faan hablando del encuentro y la confrontaci\u00f3n surreal de los seres de la naturaleza con estructuras arquitect\u00f3nicas, tecnol\u00f3gicas y museales, s\u00edmbolo de la modernidad y la supuesta preeminencia humana.<\/p>\n\n\n\n

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En colaboraci\u00f3n con el dise\u00f1ador rumano \u2013 italiano Adrian Lovin desarrolla una serie de piezas de video arte,  NFTs  y un proyecto de experiencia de realidad virtual en donde se expande a nuevos campos la tem\u00e1tica de \u201cLa persistencia del deseo\u201d (The persistence of desire).<\/em><\/p>\n\n\n\n

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Comienza en 2023 el desarrollo de la serie \u00c9xtasis<\/em> una serie de piezas en impresi\u00f3n 3D, impresi\u00f3n gr\u00e1fica y fundici\u00f3n en bronce con la representaci\u00f3n de personajes de caracter\u00edsticas \u00e9tnicas perif\u00e9ricas con la inserci\u00f3n de piezas arquitect\u00f3nicas de car\u00e1cter religioso en una cr\u00edtica al colonialismo y la imposici\u00f3n ideol\u00f3gica.<\/p>\n\n\n\n

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En septiembre de 2023 realiza en la Galer\u00eda Fernando Pradilla de Madrid la exposici\u00f3n The persistence of desire<\/a><\/em> con curadur\u00eda del fil\u00f3sofo, cr\u00edtico y curador espa\u00f1ol Fernando Castro Fl\u00f3rez<\/p>\n\n\n\n

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En octubre de 2023 se presenta en la fundaci\u00f3n March de Madrid la exposici\u00f3n antol\u00f3gica Antes de Am\u00e9rica Fuentes originarias \u2013 cultura moderna <\/em>con la curadur\u00eda de Rodrigo Guti\u00e9rrez Vi\u00f1uales, exposici\u00f3n que incluye varios trabajos del artista.<\/p>\n\n\n\n

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En noviembre de 2023 representado por la Galer\u00eda El Museo es seleccionado para presentar en el espacio Sitio de  la Feria ARTBO la instalaci\u00f3n Migraci\u00f3n<\/a> <\/em>una intervenci\u00f3n de espacio que reflexiona sobre la crisis ecol\u00f3gica con un tono surrealista y po\u00e9tico.<\/p>\n\n\n\n

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En mayo de 2024 se inaugura en la ciudad de Murcia, Espa\u00f1a, la exposici\u00f3n “\u00c9xtasis” en la Galer\u00eda T20 curada por Carolina Parra y Nacho Ruiz. <\/p>\n\n\n\n

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La exposici\u00f3n es la primera muestra en la Ciudad de Murcia y la introducci\u00f3n de las obras de la serie “La persistencia del deseo” ya exhibida en Madrid en el 2023.<\/p>\n\n\n\n

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Tambi\u00e9n en Mayo de 2024 y con la curadur\u00eda de Carolina Parra y Nacho Ruiz se abre la muestra “La persistencia del deseo” en el magn\u00edfico espacio expositivo de la “Antigua Carcel de Murcia”<\/p>\n\n\n\n

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En Octubre de 2024 se abre la muestra “Portales” en la Galer\u00eda El Museo de Bogot\u00e1, muestra que introduce el nuevo proyecto que involucra elementos producidos por medio de la IA y ejecutados en impresi\u00f3n Chromalux en aluminio e impresiones 3D. La obra es un umbral, un espacio de transici\u00f3n entre el universo f\u00edsico y un mundo et\u00e9reo. Una reflexi\u00f3n sobre las perturbadoras condiciones planetarias en por medio de un dispositivo de conexi\u00f3n metaf\u00edsica. <\/p>","protected":false},"excerpt":{"rendered":"

1960 Nace en  Bogot\u00e1, Colombia, el 16 de mayo de 1960, hijo del abogado Nad\u00edn Ospina y Lucy Valbuena. Estudi\u00f3 en el colegio de jesuitas San Bartolom\u00e9 de la Merced, en donde adquiere una formaci\u00f3n rigurosa y una conciencia social y pol\u00edtica concentrada en la problem\u00e1tica de los pueblos de Am\u00e9rica Latina. 1977 Influenciado por su […]<\/p>\n","protected":false},"author":154715982,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_crdt_document":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":""},"class_list":["post-3506","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PaPj6W-Uy","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/3506","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/users\/154715982"}],"replies":[{"embeddable":true,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/comments?post=3506"}],"version-history":[{"count":48,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/3506\/revisions"}],"predecessor-version":[{"id":8300,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/3506\/revisions\/8300"}],"wp:attachment":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/media?parent=3506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}