The home, the city and the territory

From the sphere of domestic affection extends an emotional framework that goes from our immediate surroundings to the vast expanses of faraway territories. The idea of nature accompanies us from the order of the house, with its plants, vases or orchard, to the dimension of urbanity that confers living in common, extending to the territory, - homeland - in an expanded sense of the natural domain. Thus, the work of the artists we present for Zona Maco occupies different coordinates in the present, inviting us to reflect on the multiple current dilemmas that cross identity, respect for nature and the social structures through which we create our environment.

Juliana Correa's textile art recalls the domestic with her careful work of sewing, assembling, overlapping precious fabrics that she has accumulated throughout her career. Her assemblages recall gardens, landscapes, terrestrial structures seen from space. Her work is feminist and ecological; her stance is radically critical of current consumption and waste, linked to the cycles of fashion as disturbing elements of the global ecosystem.

The intimate painting of Isabel Gómez Machado is based on the stories handed down by several generations of women in her family, her photographic albums and a collection of objects: dresses, embroidery, wedding night garments, among others. The domestic sphere and the matriarchal lineage are the axes to produce a mysterious and luminous painting.

Eduard Moreno's oil paintings explore the cultivated landscapes of the Colombian highlands. The frequent fires in the hills inspire historical landscapes where potatoes are still cultivated. Between smoke and mist, the páramo appears; each painting has at its base charcoal, earth and ash substrate, materials that make the fields fertile and productive. In small oil paintings on copper, the potato and other local tubers emerge. Moreno honors his Nasa and Misak indigenous ancestors, in his rites and pagamentos that seek to pay homage to the spirits of the place.

Radenko Milak explores the city in our historical moment; from the slums of Brazil, to museum constructions as icons of contemporary culture, his work explores the contradictions that occur under different social and political regimes. The contemporary city, far from the classical 'civitas', flourishes under the effect of different crises: the environmental disaster of the infinite sowing of towers in São Paulo, the colonial city (Havana) in its socialist period, the utopia of Brasilia or the generic fabric of Tokyo, are ingredients of an inventory that never ceases to surprise us with its radical imaginary.

These artists filter, under an aesthetic and poetic magnifying glass, the problems that define our era, a semantic laboratory that invites us to think about our times.

Ana Patricia Gómez - Director