. Yosman Botero
Born in Cucuta, Colombie, in 1983. Leaves and works in Barcelone, Spain.
 
Power is everywhere - Yosman Botero Gomez
The creative universe of Yosman Botero can be defined as a space built of doors
and mirrors, where everything is reflected and confronted with the objective of mapping,
revealing and questioning power relationships. Influenced b...
Born in Cucuta, Colombie, in 1983. Leaves and works in Barcelone, Spain.
 
Power is everywhere - Yosman Botero Gomez
The creative universe of Yosman Botero can be defined as a space built of doors
and mirrors, where everything is reflected and confronted with the objective of mapping,
revealing and questioning power relationships. Influenced by multiple references originating
from history, literature, documentaries and art, Yosman has assembled an archive rich in
mixtures that he uses at the time of creation. Standing out is his ability to detect signs and
symbols and to elaborate narratives out of them that, in a visual and conceptual dimension,
question the tensions both ideological and institutional as well that of the economic system i
n a society that bears decades of repression and brutality, articulating a essentially political work.
Yosman develops a creative process in which he first locates a colonizing act, and then
determines the exploitation exercise to which it corresponds. His work criticizes the inappropriate
use of natural resources through mining, the manipulation of information by the powers that
be, and the unbridled cravings for enrichment. At this point, much of his work arises from the
need to visualize the void, to generate resilience processes in the spectator. There is a marked
interest in architecture and landscape that acquires a dimension as a social territory. Thus, his
method of work could be defined as the study of the ecology of war, where he expresses an
interest in those landscapes that during war conflicts only acquire value insofar as these may
be a resource for the enemy.
The theoretical references of Yosman’s work are multiple. Among them the American writer,
philosopher, film director and photographer Susan Sontag who in her books reflects on the
meaning of her art. “That a bloody battle landscape could be beautiful - in the sublime,
astonishing or tragic record of beauty - is a common place of the war scene images made by
artists. The idea does not fit well when applied to the images taken by cameras: finding beauty
in war scene photographs seems cruel. But the landscape of devasta- tion remains a landscape.
In the ruins there is beauty.” (SONTAG SUSAN. Regarding the pain of the others. De Bolsillo, 2010.P. 68.). (...)
 
Natalia Castillo Verdugo 
Director AMA+
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