Carlos Monroy | Colombia

Artist and researcher. His performances question the boundaries between so-called highbrow, popular and mass culture repertoires, as well as the institutional boundaries this language started being assigned to between the late 20th and early 21st centuries. To do so, he coins the term “Re-formance,” with which he interprets procedures such as repetition and copy in a positive way, regarding them as tools for creation and critique. Monroy completed a degree in Arts from Universidad de los Andes, Colombia, in 2008, and a master’s in Visual Poetics from Universidade de São Paulo (USP), in 2014. He served a stint as a researcher at the International Center for Arts of the Americas, associated with the Museum of Fine Arts, in Houston (ICAA-MFAH), United States, 2009, writing critical reviews on the history of performance in Colombia from the 1960s on. In 2012, he participated in the emerging performers program of the New York University (NYU), in the same country. His solo exhibitions include Monroy’s Living Cliche Since 1984, Oficina Cultural Oswald de Andrade (São Paulo, 2014) and SCOTOMA, Ateliê 397 (São Paulo, 2014), among others. His group exhibitions include Mostra 3M Canções de Amor, Instituto Tomie Ohtake, (São Paulo, 2014); and Rencontre Internationale d’art performance de Quebec, (Canada, 2012). He lives between Bogotá and São Paulo.

Llorando se foi. O Museu da Lambada. In memoriam de Francisco “Chico” Oliveira | 2015, installation

The rise of lambada as a Brazilian cultural element and the exponential growth of labor immigration from Bolivia to São Paulo in the late 1980s provide the backdrop to this piece, which explores the plagiarizing of the song Llorando se fue [Chorando se foi], written by the Bolivian group Los Kjarkas, remixed in Europe by one Chico de Oliveira, and released in Brazil by the band Kaoma. Media registers, objects, and audiovisual productions revisit the international media craze surrounding lambada, which introduced the world to the country of the forbidden dance style; at the same time, the installation follows the enigmatic Francisco Orcossupa Olivares, a Bolivian immigrant, musician, seamster, and local disseminator of the lambada culture. 

Artists selected from the c ommissioned projects call for entries