Bonart Internacional publishes issue 3 with Colombia as the protagonist

Colombia becomes the starting point for the presentation of issue 3 of Bonart Internacional , a new edition that continues to expand the scope of the magazine towards different geographies, artistic scenes and debates that cross contemporary creation. Bogotá and Medellín are the chosen settings to publicize a publication that finds in the Colombian context one of its main editorial cores, both for the diversity of the proposals collected and for the desire to establish a dialogue between artists, institutions, independent spaces, critics and researchers.

The Colombian presence runs through a large part of this new issue through a series of reports that allow us to get closer to an artistic scene marked by the relationship between territory, memory, community, public space and experimentation. The journey begins in Medellín with Des de Medellín, art i comunitat s'uniejcen , signed by María del Rosario Escobar P., an approach to the new forms of relationship between cultural institutions, citizenship and territory. This article is joined by the views of Carlos Rojas Cocoma on Body and gaze in the work of Leonel Castañeda ; of Sigrid Castañeda, who addresses the work of Sandra Rengifo and Kostas Tsanakas in Ecos del turó Kwet tul ; and of Silvana Tobón Cardona, author of Alejandro Tobón: Monuments del futur .

The issue also delves into those spaces and practices that have contributed to shaping contemporary Colombian culture from less institutionalized positions. Christian Padilla writes Altars and counterculture , while Jerson Murillo addresses the trajectory of Espacio KB in More than 10 years without sleeping . For his part, Alex Brahim proposes in Produir la frontera. Art, mediation and public sphere a reflection on the relationships between creation, territory, mediation and construction of the public. The Colombian block is completed with Genialitat o Frankenstein?, signed by Carles Toribio, which introduces a look at the work of El Xupet Negre in dialogue with the Edgar Negret Museum.

This special attention to Colombia also has a visual dimension. The two covers linked to the international edition place some of its protagonists in the foreground. The cover of Bonart Internacional presents a work by Alejandro Tobón, while the cover of Malart Internacional is starred by a work by Sandra Rengifo and Kostas Tsanakas. Two visual proposals that function as gateways to an issue built from the plurality of languages and approaches to contemporary creation.

The dialogue with Colombia is completed with an interview by Ricard Planas Camps with Rafael Tamayo, director of the MAMM in Medellín, entitled The internationalization of the MAM also with museums in the Global South , which focuses on the international dimension of museum institutions and the need to generate new collaboration networks between territories traditionally located outside the large hegemonic circuits of art.

Beyond the Colombian axis, issue 3 of Bonart Internacional maintains a decidedly international vocation. The opinion section brings together voices such as Marisol Salanova, author of Allergia a la critica d'art and L'IVAM como trampolín ; Fernando Castro Flórez, who presents Alguna cosa podrida als museus ; Sonia Borrell, with De Marfa a Londres: Texas travessa fronteras ; Diana Padrón, author of Temptativa per petanse de riure (o el riure práctica esthetica) ; and David G. Torres, who closes this area with Renunciar . These are diverse approaches that share a desire to question certain inertias of the artistic system and to reclaim the space of criticism as a tool of analysis.

The reportage section further expands the geographical and conceptual map of the magazine. Kekena Corvalán poses Contemporary Art, some questions , while Roberta Bosco analyzes the Biennale di Venezia 2026 in The most controversial and the most visited . César Martínez approaches Acapulco 62: a constantly expanding port and Luz Massot addresses the birth of the first International Biennial of Contemporary Art in Mexico, the Yucatán Biennial. Added to these contributions is Aliendigenism and transtemporality , by Rubén Ortiz-Torres, which introduces a reflection on the forms of temporal and cultural displacement in contemporary creation.

The journey continues through very diverse geographies and issues. Miguel Bertojo writes The coffered ceiling, the Mudejar pearl and Tea ceremony in honor of Gaudí , while Rosa Gutiérrez Herranz addresses the Santander Faro Cultural project. Rosario Arteaga Abogabir writes about Factories and spaces of creation for children and Óscar Cornago presents Glosses and postcards. Pas innocent , a project by Rosa Casado and Núria Güell. Emilio Tarazona recovers the experience of Fugaz al Callao and Anna Pérez Milán poses The right not to represent , expanding the debate on the mechanisms of representation and the relationships between art, society and identity.

The issue also includes an interview by Jesús Martínez Clarà with photographer Jacques Olivar, The Cult of Beauty: Complexity and Truth , a conversation that allows the publication to introduce issues related to image, beauty, the photographic experience and the tensions between appearance and truth.