The jury for the event consisted of Luis Camnitzer, Gloria Delgado, Diego Mazuera, Ivonne Pinni and Edward Sullivan.<\/p>\n\n\n\n
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In \"In Paribus Infidelium\" <\/strong> (1992), color is at the service of parody, simulation and irony; its aesthetic function becomes more complex and serves as a vehicle for subtle messages that contain clues to enrich its meaning.\nIt is a multimedia installation in which the spectator's participation becomes an enriching interaction. To inhabit, to interpret, to doubt, to question, are ways of extending the work in a sensorial, cognitive, aesthetic and intellectual dimension.<\/p>\n\n\n\n In this work the color is simulation, simulation of the jungle, simulation of the original material of pre-Columbian ceramics; the red of the seeds, an ironic allusion to the earth, to the natural, to the real in the face of the simulacrum.\n In Partibus Infidelium<\/strong> is often associated with philosophical concepts of postmodern theories.\n Carolina Ponce de Le\u00f3n escribi\u00f3 en la Revista Poli\u00e9ster de M\u00e9xico, en diciembre de 1995, un n\u00famero dedicado a la apropiaci\u00f3n: <\/p>","protected":false},"excerpt":{"rendered":" Sobre la obra Carolina Ponce de Le\u00f3n escribe en la revista Poli\u00e9ster de M\u00e9xico: \u201cGana el premio del XXXIV Sal\u00f3n Nacional de artistas colombianos el certamen de mayor importancia de Colombia, con una obra titulada: \u201cIn Partibus Infidelium\u201d (En tierras de infieles) que recrea una instalaci\u00f3n museal de objetos \u201cprecolombinos\u201d imaginados con formas \u201cantiguas\u201d nuevas, […]<\/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":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_wpcom_ai_launchpad_about_page":false,"_wpcom_ai_launchpad_gallery_page":false,"_wpcom_ai_launchpad_contact_page":false,"_wpcom_ai_launchpad_events_page":false,"_wpcom_ai_launchpad_video_page":false,"_wpcom_ai_launchpad_portfolio_piece":false,"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"footnotes":""},"class_list":["post-805","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PaPj6W-cZ","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/805","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=805"}],"version-history":[{"count":14,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/805\/revisions"}],"predecessor-version":[{"id":4345,"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/pages\/805\/revisions\/4345"}],"wp:attachment":[{"href":"https:\/\/nadinospina.org\/en\/wp-json\/wp\/v2\/media?parent=805"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
With the production of the work In Partibus Infidelium (In the lands of the infidels) <\/strong> in 1992, a radical shift began. The work, a scenographic montage that parodied the aesthetics of archeological museums, introduced a series of radically new proposals and concepts in the Colombian context.\n
In a technical sense, it initiates the presence of works articulated for exempt spaces in the scope of the National Salon of Colombian Artists; at the time, the requirement of a closed and controlled space for a multimedia installation, was something not contemplated; in fact, during the Regional Salon prior to this event, my work Katal Huyuc was not shown in an adequate way because the person in charge of the assembly at the time, refused to build a special enclosure for its installation.<\/p>\n\n\n\n
Strategies such as appropriation, simulation, radical questioning of authorship and the role of the artist as physical producer of the work, are part of its discursive elements.\n
The work, produced at a time of great opportunism in the face of the commemoration of the 500th anniversary of the discovery of America, attempted to\nto disarticulate the neo exoticisms and the political and patriotic appeals to an ungraspable past as an emblematic strategy.<\/p>\n\n\n\n
En 1992, Nad\u00edn Ospina gan\u00f3 el premio mayor del Sal\u00f3n Nacional de Artistas
Colombianos, el certamen de mayor importancia del Pa\u00eds, con una obra titulada In Partibus Infidelium (En tierras de infieles) que recreaba una instalaci\u00f3n muse\u00edstica de objetos \u201cprecolombinos\u201d imaginados con formas \u201cantiguas\u201d nuevas, fabricados por ind\u00edgenas contempor\u00e1neos y ambientados con muros pintados de selva y ruidos de chicharras y ranas. Era una parodia de la reconstrucci\u00f3n del pasadoen el ambiente descontextualizador del museo que impone una mirada as\u00e9ptica, est\u00e9tica y desnaturalizadora sobre objetos de funci\u00f3n religiosa: el museo como espacio sacro escenifica una estilizaci\u00f3n del pasado precolombino e idealiza una coherencia hist\u00f3rica que oblitera los sangrientos episodios de la Conquista espa\u00f1ola. El museo establece una nueva gram\u00e1tica para los objetos: los articula dentro de un sistema de valores que poco tienen que ver con su significaci\u00f3n original y mucho con la necesidad de satisfacer las demandas de la simulaci\u00f3n como \u00fanica realidad posible. Es un medio para consolidar so!smas de identidad de pasados felices y futuros trazados sobre estas !cciones. En este juego de espejos de lo original y la apropiaci\u00f3n; de lo contempor\u00e1neo y El Dorado -inventado para ser eternamente perdido-; de historia y ficci\u00f3n, de representaci\u00f3n y simulaci\u00f3n, se desenvuelve esta obra de Nad\u00edn Ospina. El arte se convierte en la opci\u00f3n postmoderna de configuraci\u00f3n religiosa (del lat\u00edn religare: volver a unir).<\/p>\n\n\n\n![\"\"](\"https:\/\/i0.wp.com\/nadinospina.org\/wp-content\/uploads\/2019\/05\/chochos.jpg?resize=640%2C605&ssl=1\")
<\/h4>\n\n\n\n