To define or recognize an alignment in the aesthetic field is to make evident, to make explicit or simply to connote that a direction is identified or a line of thought is organized that runs through the work as research, reflection and/or field of action. Under this approach, Julian Burgos, Fabienne Hess, Maite Ibarreche, Radenko Milak, Beatriz Olano, Juan Osorno, Caroline Peña Bray, Hilda Piedrahita, Ernesto Restrepo Morillo, respond to the invitation of La Balsa Arte.

We have assembled a group of nine artists with a wide diversity of approaches. From painting, Julián Burgos reinterprets historical painting with humor and nonchalance, seeking mutations through interventions superimposed on the pictorial theme, achieving with his interventions an irreverent updating of the image. Beatriz Olano dialogues with the constructivist tradition of abstraction, without discarding its emblematic references. A panel formed by 8 paintings produces a sensation of depth of space. Hilda Piedrahita presents an installation around the orchid, the national flower. She questions the meaning of national images from the point of view of history, of their links with the construction of national identity.
From the language, Fabienne Hess interrogates the codifications hidden in the network, evidencing the perversions of the digital logic. Maite Ibarreche reinterprets the eroticized and trivialized image of the female sphere, revealing through cuts fragments of bodies, superimposed layers of a body shape that has lost its integrity, thus questioning the consumerist advertising stereotypes. From a political perspective, Ernesto Restrepo poses with his 'potato harvest' a dialogue around the concepts of use value and exchange value of economic theory. What is the value of his work, how much are we willing to do and pay for it? With a common line, these three artists present us with dialogues with the theoretical content of their work.
Randenko Milak, in gouache, continues his research into the historical, mythical and biblical aspects of the 'University of Disaster'. Among the catastrophe of the 20th century is the destruction of the last frontiers: the ethnicities, landscapes and cultures of the Amazon. For Milak, the disaster is of biblical proportions, the iconic image of the sinking of the Titanic being an unconscious parallel to the Universal Flood. The jungle is, metaphorically, the last abode of nature, the place of the residue of innocence, a place of dreams and madness. Juan Osorno addresses the question of historical veracity. He interrogates the imaginaries of science, making it a subject of narrative and fiction. Caroline Peña Bray poses an ethical dilemma about perception and a reflection on the illusion of opacity. Photographs of urban landscapes, intervened with earth, represent some marginal sites in Bogotá. These images appear frequently in research on inequality and poverty, and not in the sphere of art. How to interpret these landscapes opaqued by the earth of the place? Does the meaning of the image alter in transit from one medium to another?

Pictorial traditions, theoretical lucubrations and historical issues: these three categories of analysis are the testimony of the research of eight artists who, by different means, raise issues and alignments in contemporary art.