by Jeremy Jaud – Curator
For the art exhibit: Ten Thousand Suns
As a Latin American artist, Colín’s research focuses on how art objects can create links between the art produced in Latin America and its societies, predominantly in relation to Mexico. Colín investigates how artists use local knowledge, realities and histories in social movements, struggles, resistance and subversion as new expression of social and cultural progress by focusing on the notion of “language as knowledge”.1
Investigating how both artists and the objects they produce distance and separate the general public from art, Colín explores art as social benefit. Artists consume and then reproduce in various forms the information that society generates, and, as such, art has a demand to be explicitly public: by the people for the people.
In this way, the potential exists for art and society to forge new ways of conceptualizing national culture, for art to exist inside societies, and to develop sociopolitical connections between art and society that allow for new art forms and new interpretations of cultural knowledge. For Colín “real democracy is when (art) does what the people want and defends a single interest: that of the people.”
Colín’s practice addresses the ideal that artistic concepts must change, or at least those practices that are involved with society and its social movements, recalling that “crafts and trinkets become fashionable, and as a result, the work of many conceptual artists rematerializes to some degree to accommodate this fashion”.2
1. Paz, Octavio. The Bow and the Lire. trans. Ruth L.C. Simms (Austin: University of Texas Press, 1974), 20.
2. Camnitzer, Luis. Conceptualism in Latin American Art: Didactics of Liberation. (Austin: University of Texas Press, 2007), 219.