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POST-IT: COLOMBIA

19 September 2019 — 27 October 2019

ESPACIO MANGO, Bogotá, Colombia

Participating artists
Alfonso Perez Acosta, Andrés Sandoval Alba, Felipe Arturo, Otto Berchem, Nicolás Bonilla, Camila Botero, Felipe Barreiro, Cristina Castagna, Leonardo Castañeda, Angelica Castro, Nicolas Consuegra, Wilson Diaz, Danilo Dueñas, Ximena Escobar, Pablo Fernández ,Sebastián Fonnegra, Felipe Garcia, Margarita Garcia, Daniel Guana, Pablo Guzman, Maurico Higuera, Catalina Jaramillo, Juan Carlos Jiménez, Santiago Leal, Verónica Lehner, Mateo López, Daniel Mantilla, Oriana Marín, Jorge Marín, Adriana Martínez, Ana Maria Millán, Katherine Patiño Miranda, Luis Felipe Moreno, Carlos Motta, Daniel Salamanca Núñez, Beltrán Obregón, Alfonso Perez, Andrés Matías Pinilla, Luis Roldán, Maria Roldán, Ruben Rincón, Claudia Patricia Sarria, Gabriel Sierra, José Pérez Tello, Maria Alejandra Torres, Daniel Otero Torres, Juan Pablo Uribe, Julian Urrego, Geraldine Ramirez Vallejo, Andrés Valles, Villamil & Villamil, Sonnia Yépez

Curated by Adam Carr and Jens Hoffmann

POST-IT: COLOMBIA is organized by the Office for Curatorial Wonders in collaboration with ESPACIO MANGO a new exhibition space and gallery founded by Adam Carr, Jens Hoffmann and Adriana Martinez. It includes contributions from more than 50 Colombian artists who were asked to make artworks out of Post-it Notes. Each and every work in the exhibition is made solely out of standard, mass-produced Post-it Notes available at any stationery store.

Carr originally developed the idea in 2003 and presented it the following year as an exhibition in Manchester in an architectural office and in 2005 at the Institute of Contemporary Arts, London, while Hoffmann was that institution’s Director of Exhibitions, as well Midway Contemporary Art, Minneapolis. POST-IT: COLOMBIA follows the same principle, but this time focusing exclusively on artists from Colombia.

It includes contributions by over 50 artists of which 10 were initially invited by Carr and Hoffmann and asked to nominate each three further artists to create a form of snowball system following the idea of Post-it Notes as objects for the exchange of messages. In addition, a number of Colombian curators were invited as well to nominate artists with an emphasis on emerging artists as well as those not based in Bogotá directly: Daniela Cortes Medina, Mariana Bonilla Rojas and Emiliano Valdez as well as co-founder Adriana Martinez. 

The result is not only the actual Post-it: Colombia exhibition but also an extensive research into the current Colombian art scene. Each and every work in this exhibition is made with standard mass produced Post-it Notes available at every stationary store. 

The exhibition is part of a broader curatorial inquiry on the part of both Hoffmann and Carr into unorthodox exhibition displays and ephemeral art production. They regard POST-IT: COLOMBIA as a highly conceptual and creative endeavor inspired in part by Seth Siegelaub’s XEROX BOOK exhibition in 1968 and Hans Ulrich Obrist’s DO IT, which is ongoing and started in 1993. Both were influential for Carr’s concept and have also informed Hoffmann’s curatorial practice.
 
After this revitalization of their initial London collaboration, Carr and Hoffmann intend to organize more iterations of POST-IT in cities and countries around the world. Shows in Panama, Japan, New Zealand, and South Africa are already in the works.

The reboot of POST-IT is also a response to current ideas around economically viable and environmentally sustainable curatorial practices. The various exhibitions will be archived and eventually collected in a publication and donated to a museum archive/collection after having all been presented together in one large exhibition, scheduled for 2022.

Material