Exhibitions
Project Faenza explores the fractures of a territory in constant motion
'Subductions' brings together nine proposals in Bogotá that address the wounds of extractivism, colonization and borders from an artistic and telluric perspective.
In geology, subduction occurs when one tectonic plate slides beneath another, releasing energy capable of slowly transforming the landscape. Proyecto Faenza takes this phenomenon as its starting point for Subductions at UN Fair Tequendama in Bogotá, a project that brings together nine works conceived as plates in motion, in constant collision and friction. The exhibition, curated and with texts by Fernando Cuevas Ulitzsch, offers an interpretation of Colombian and Latin American territory from the perspective of what lies beneath its surface: memories, conflicts, wounds, and forms of resistance.
The exhibition brings together the work of Otoniel Borda, Fernando Cuevas Ulitzsch, Freddy Forero, Leonardo Guayán, Edgar Jiménez, Paul Guerrero León, Mauricio Combariza, Estey Ducuara, and Jorge Magyaroff, all members of Proyecto Faenza. Their proposals stem from different languages and approaches, but find common ground in the tensions that permeate contemporary societies and the ecosystems that sustain them.
Subducciones understands each project as a kind of creative earthquake. Just as the movement of tectonic plates can raise mountain ranges and modify the landscape, the works bring to the surface what political, economic, and cultural boundaries tend to conceal. The territory ceases to appear as a stable and delimited surface and becomes a space of opposing forces, where past and present continue to exert pressure.
One of the central themes of the proposal lies precisely in the need to question the idea of borders. Economic and political divisions, as well as those produced by cultural, religious, and economic colonization, appear as constructs that do not always explain the complexity of territories. In contrast, the works propose a deeper geography, one shaped by shared experiences and conflicts that transcend any administrative boundaries.
Extractive industries, ecosystem disruption, and ecological balance are all part of this map of tensions. So too are collective memory and trauma, understood not as closed chapters, but as forces that remain active and continue to shape communities and their landscapes. In this sense, the exhibition does not present a static geography, but rather a territory in constant transformation, where visible fractures are merely the outward expression of much deeper processes.
From the perspective of Proyecto Faenza, Bogotá emerges as the starting point for a reflection that reaches a broader dimension: Colombia, the Americas, and their multiple historical, social, and cultural layers. Subducciones proposes exploring these layers not by seeking a definitive cartography, but by attending to the displacements, tensions, and resistances that shape the present.
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