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Faenza - Teatro de la Paz
Bogotá, Colombiar


Octubre 27 a Noviembre 30 de 2018


Which are the paths that lead to peace in Colombia? The works placed on this space, made by Rafael Gomezbarros, act as monuments that question a memory that is still immersed on the conflict, but despite their scale or enormous dimensions (deployed or exposed on the project version), they speak to us from their fragility and their ephemeralness. As if touched by death, these are documents of culture and brutality that have not been able to rise on a false triumphalism over a war that must have been left on the past.


However, in the country the violence spiral documented by history, has also lit the social forces that claim for it to end. If memory is a place that can’t be visited (As Paul Ricoeur stated), these memorials are only, provisionally speaking, places: territories that the artist invites us go through and speak to us in a different way of the possibility of connection, even if these are found outside any estimate (or accounting) and also wake visions of emancipation which allow us to find routes that sometimes seem to make us wander into the inside of magnificent mazes, offering ways to confront their exit as well. Proposals which contribute to building that peace in the social and collective imaginary as an efficient objective to break up the imaginaries that throughout so many decades, have been strongly established by war.   



Which one is the seed that the project’s name refer to, and to which we are returning? It seems there is no recipe for a new time which opens up without a strange synthesis of achievement and calamity. Gomezbarros tries to decode an architecture of violence and recoding it as a routinary challenge, finding in what used to be an image of hostility, possible paths towards peace. Assumed as seeds, they search for a different territory from the one where life has been tajen, many times, uprooted.


Biennale Internacional de Gangwon - The Dictionary of Evil 
Gangwon, South Korea


February 3 - March 18, 2018

“The Dictionary of Evil,” theme of the Gangwon International Biennale 2018, presents the efforts made by artists to observe the special or universal evils of our society, against a backdrop of the moral consciousness of human beings in an endless present, rather than a religious or ethical perspective on the “lack of good.” These efforts are grounded in the fundamental role of the Biennale and the artist’s duty to question the essence and role of art in society through artistic language. The Biennale strategically presents the “artistic need” for a humane response to contemporary issues, where conscience crosses absence of mind, while also discussing, from a highly realistic perspective, the issues, and discourses that contemporary art must address. 

The exhibition represents 100 years of modern history as a “dictionary,” and connects the past and present through a “Mobius strip” that indicates circularity instead of beginnings and ends. In this time and space, artists examine themselves and consider the lack of good or evil behavior, and the history of disasters and catastrophes enacted for various reasons. 

The Biennale macroscopically and microscopically reflects on the “faces of evil” from the perspective of artists, who do not accept the co-prosperity and coexistence of humanity. These faces of evil include environmental changes to the Earth, which is becoming less and less suitable as a home for humanity, as well as the actual and conceptual migration and escape confronting humans in the era of capitalism, the strongest power of this time. They include various forms of violence and chauvinism carried out in political, economic, and social contexts, as well as the egoism and pure blood-ism underpinning powerful, new hierarchies and forms of imperialism that have become stronger than ever. They also include war and refugees, which are the products of ideologies, conflicts between the leisure class and the working class, and a society in which biological differences have become a source of discrimination. 

However, this exhibition is not just a “list of evils.” Although it is likely to be misunderstood, it does not reproduce the pain of others by visualizing or visually appropriating evil. Rather, it looks back on situations and events caused by certain realistic “evils” that we cannot properly accept because we lack the sensitivity to perceive their essential qualities, which include the missing value of life amidst the common problems of mankind, deteriorating quality of life, social collapse, damage to human dignity, and wealth inequality. It is more a process of connecting doubts about the existence of unusual elements that enter daily life (terror and fear, daily life of involuntary circulation). 

In other words, “The Dictionary of Evil” does not attempt to visualize forms of evils, but instead aims to reconsider our thoughts about and awareness of evil by describing situations caused by evil (anonymous bodies sacrificed during known or suspected events). It depicts a situation in which we can no longer focus on evil without thinking about the history triggered by the “evil,” when “evil” has become “beyond evil” (in a state where evil cannot be acknowledged, due to its universality) and can no longer be distinguished from humanism. 

Of course, seen from the outside, “The Dictionary of Evil” is a visual art project about evil, accompanied by descriptions (in different forms by different artists), and images that cannot be translated into text. It questions how experiences and memories of evil can be reproduced, from the perspective of artists, while also seeking real freedom, in the true sense, by breaking free from our usual reality of non-perception and the pain that is barely acknowledged. 

This is the reality we must face when attempting to create a “sound society,” rather than an object that must be abstracted or ideated. Its substance, rather than its exterior, must be drawn from the artist’s perspective. These images are thus very different from suggestive pictures, pornographic viewpoints, or voyeuristic symbols. The “sound society” is not a mechanical human structure, but an uncomfortable keyword designed to produce a change in perception; its ultimate goal is to review the direction of intellectual introspection. 

“The Dictionary of Evil,” the theme of the Gangwon International Biennale 2018, ultimately dreams of directly facing and becoming free from painful and tragic history, contemporary reality, and pain itself, including fear, horror, anger, and mourning. The aim of this exhibition is to question human decency and “human values.” In other words, it adopts a humanist approach. This is why “The Dictionary of Evil” sets out to consider, through the Gangwon International Biennale, international, artistic conversations about the good of deficiency, the common good that can prepare us for a better future and protect all our lives. It is aligned with all moral, social, and depersonalized interests that focus on “recovering human nature” through human reason and conscience, as well as taking the time to consider human pain. 

Gangwon International Biennale fundamentally comforts the vulnerability of the weak, who have been pillaged by historical and empirical evils, as well as minority groups and alienated people. As briefly mentioned above, the theme, “Dictionary of Evil,” is based on existent threats, as well as refugees, war, famine, disasters, and alienation. It is the duty and responsibility of art not to give up. It is an act of willpower to improve the values of life, and a solemn message about the impossibility of obtaining independent otherness. It also reflects our view of why and for whom this Gangwon International Biennale is being held.


Individual Exhibition - Plecto Gallery
Medellín - Colombia



September 8 a October 8


Through this serie entitled Templar & Temples, I present an exercise of sculptures born from my own experiences with meditation-stillness and physical forces-vibration. God never gives us trials that we can’t endure y They will not have my hatred represent the inner strength of the above faith of the man that once had to carry a cross. Somehow in this work I seek the duality of a precipitous drop of the divine and the earthly.


The temples reflect the OM that activates the inner resonance of the being. It is a primordial and powerful sound, and the supreme oneness with the combination of the physical and the spiritual. The dumb bell reinforces the internal energy of the skull, and the body is no longer the temple. The mind is the one who leads the desires. To me, the warriors symbolize the capitalist man of the contemporary world. With that in mind, I thought the perfect symbol could be the Templars. The creators of new financial techniques were an early form of modern Bank.


The power of faith, the greatest strength of mind and the material ambition, join in these sculptures representing the strength of our contemporary world between the divine and the material.






Individual Exhibition - Bolivariano Museum
Quinta de San Pedro Alejandrino - Santa Marta, Colombia



September 30 de 2015 - January 28


To deal with fear is something we learn since we recognize ourselves as individuals; We learn that its inherence to human condition does not dissapear and that’s when we accept to cohabit with it, transforming it into a cultural construction and a method of social control.

I mistrust stable things meets 3 series that portray the fear from different perspectives and interweave to form a single structure: Stability as dubious and unknown entity that generates suspicion. 

Behaviour patterns that carry inherited traumas, the inexhaustible and disappointing expectation that despite the time doesnt seems to have an end and the fragility of a faigned strenght excused in errors, gather in a single space to raise one question.

What is the true sense of stability when distrust it?

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