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Skipping Rope in the Square. 2023
Collective action in Plaza de Bolívar in Bogotá with students from the Introduction to Performance class. May 2023.
Jumpers:
Estefanía Abondano, Joan Felipe Ariza, Emanuela Arroyave, Ana Sofía Cepeda, Valentina Franco, David Jose Galvis, Samuel Garcia, Maria Alejandra Huertas, Maria Juliana Mercado, Sahian Mondragón, Valentina Moreno, Laura Camila, Dannah Peñuela, Juan Felipe Pérez, Alisson Nicol Rondon, Spider-Woman and Spider-Man.
Acknowledgements: Facultad de Creación, Universidad del Rosario.
Jumpers:
Estefanía Abondano, Joan Felipe Ariza, Emanuela Arroyave, Ana Sofía Cepeda, Valentina Franco, David Jose Galvis, Samuel Garcia, Maria Alejandra Huertas, Maria Juliana Mercado, Sahian Mondragón, Valentina Moreno, Laura Camila, Dannah Peñuela, Juan Felipe Pérez, Alisson Nicol Rondon, Spider-Woman and Spider-Man.
Acknowledgements: Facultad de Creación, Universidad del Rosario.
Sale of Teeth (second mouth)
Tinta sobre papel. 2025
Texto de Iñaki Chávarri para la exposición en BOL:
VENTA DE DIENTES
Adriana García Galán
17demayo-8junio
Hay muchas maneras de aproximarse al hacer. La idea del rigor y de hacer bien las cosas se ha acomodado en unos paradigmas de resolución de problemas específicos como “se ha fundido una bombilla y tengo que reemplazarla” o “quiero llegar a Marte”.
Las metodologías proyectuales centradas en el problema, que yo amo y enseño en mis clases, tienen un gran punto ciego cuando se aplican a las prácticas creativas: ¿Qué pasa si no hay un problema? ¿Y si el hacer en las prácticas artísticas no responde a una necesidad clara, específica, social?
Adriana, con su manera de hacer da respuesta a esta pregunta desde la acción. Ella, en su quehacer nos lleva
a lugares extraños, donde nuestros criterios de análisis y juicios de valor cortocircuitan. Es frustrante, pero también esperanzador. Unx, como profesional de las artes, dedica su vida a construir ciertos principios sobre los que leer el mundo y los objetos del mundo que hacen parte de las prácticas artísticas. Y la obra de Adriana es como si ablandara el hierro y empañara los lentes.
Nada sirve para acercarse a su obra y toca comenzar de nuevo. Como los bebés que, en su afán por conocer el mundo, se lo echan todo a la boca.
La boca es ese lugar donde confluyen los contrarios. Es la única zona de nuestro cuerpo donde el hueso traspasa la piel para hacerse visible. Es lugar de abastecimiento alimenticio (de entrada) y de cavidad acústica (de salida). Se convierte en una especie de intersticio entre unx y el mundo, entre la mucosa interior y la piel seca que mostramos al mundo.
Adriana vende dientes. No sabemos de quién son, tampoco sabemos cuáles son las motivaciones que hay detrás de ese acto. Pero pienso en lo misterioso de coleccionar la parte del cuerpo de otro ser que no conozco. ¿Será como las patas de conejo que dan suerte? ¿Nos ayudará a cumplir deseos como la que aparece en el relato de William W. Jacobs?
Lo único que puedo asegurar es que el trabajo de Adriana (en particular estos dientes y estas lenguas) es un estandarte de que el mundo es complejo, raro y misterioso.
Una invitación a vivirlo sin pretender resolverlo.
Iñaki Chávarri
Texto de Iñaki Chávarri para la exposición en BOL:
VENTA DE DIENTES
Adriana García Galán
17demayo-8junio
Hay muchas maneras de aproximarse al hacer. La idea del rigor y de hacer bien las cosas se ha acomodado en unos paradigmas de resolución de problemas específicos como “se ha fundido una bombilla y tengo que reemplazarla” o “quiero llegar a Marte”.
Las metodologías proyectuales centradas en el problema, que yo amo y enseño en mis clases, tienen un gran punto ciego cuando se aplican a las prácticas creativas: ¿Qué pasa si no hay un problema? ¿Y si el hacer en las prácticas artísticas no responde a una necesidad clara, específica, social?
Adriana, con su manera de hacer da respuesta a esta pregunta desde la acción. Ella, en su quehacer nos lleva
a lugares extraños, donde nuestros criterios de análisis y juicios de valor cortocircuitan. Es frustrante, pero también esperanzador. Unx, como profesional de las artes, dedica su vida a construir ciertos principios sobre los que leer el mundo y los objetos del mundo que hacen parte de las prácticas artísticas. Y la obra de Adriana es como si ablandara el hierro y empañara los lentes.
Nada sirve para acercarse a su obra y toca comenzar de nuevo. Como los bebés que, en su afán por conocer el mundo, se lo echan todo a la boca.
La boca es ese lugar donde confluyen los contrarios. Es la única zona de nuestro cuerpo donde el hueso traspasa la piel para hacerse visible. Es lugar de abastecimiento alimenticio (de entrada) y de cavidad acústica (de salida). Se convierte en una especie de intersticio entre unx y el mundo, entre la mucosa interior y la piel seca que mostramos al mundo.
Adriana vende dientes. No sabemos de quién son, tampoco sabemos cuáles son las motivaciones que hay detrás de ese acto. Pero pienso en lo misterioso de coleccionar la parte del cuerpo de otro ser que no conozco. ¿Será como las patas de conejo que dan suerte? ¿Nos ayudará a cumplir deseos como la que aparece en el relato de William W. Jacobs?
Lo único que puedo asegurar es que el trabajo de Adriana (en particular estos dientes y estas lenguas) es un estandarte de que el mundo es complejo, raro y misterioso.
Una invitación a vivirlo sin pretender resolverlo.
Iñaki Chávarri
Speech (Speak)
Rubber tongues with letters. 2025
A for artist
Private collection of artists' voices
Protocolary Greeting. 2025
Series of 14 drawings in ink and oil pastel, one video, and one plastic hand. The central element of the work is a greeting hand that floats while performing a protocolary greeting. The action unfolds behind a series of ink obstacles and atop a reflective text.
Saludo Protocolario. 2025
Saludo Protocolario. 2025
Serie de 14 dibujos en tinta y oleo pastel, un video y una mano de plástico. El elemento central de la obra es una mano saludadora que flota mientras realiza un saludo protocolario. La acción se desarrolla detrás de una serie de obstáculos de tinta y encima de un texto reflexivo.
Serie de 14 dibujos en tinta y oleo pastel, un video y una mano de plástico. El elemento central de la obra es una mano saludadora que flota mientras realiza un saludo protocolario. La acción se desarrolla detrás de una serie de obstáculos de tinta y encima de un texto reflexivo.
Sulfur Conversation
A conversation about presence under a violet eye of freshwater. This phenomenon is due to the proliferation of sulfur bacteria that emerge from the bottom of the water to the surface. 2024
Long tongues
Prosthetic device that allows two people to touch the tips of their tongues without actually doing so. 2024
Sale of Teeth (first mouth)
Collection of 20 drawings of teeth. Etching ink on paper, letter size. Sold all together or separately. 2025
It is possible sometimes. Reconstruction of the moment. 2004
An attempt at fusion for the magazine Remanente by Gráficas Molinari, in which I tried to respond to the question: 'Do flowers translate?' based on the Cr3 language learning sheet with flowers as the motif.
This was following an invitation from editor and artist Paula Leuro.
Scanner: Diego Giraldo
This was following an invitation from editor and artist Paula Leuro.
Scanner: Diego Giraldo
It is possible, sometimes
Image for the magazine Remanente by Gráficas Molinari in which I tried to answer the question: Do flowers can be translate? from the Cr3 language learning sheet of flowers as a motif. Invitation from the editor and artist Paula Leuro.
2023
2023
Office of Lost Objects. 2024
Contemporary cavern to remember the things that are no longer here. Lost objects stencil workshop. Work produced at Bodega La Rotativa in Barranquilla for the Cayeye Festival, following an invitation to the Facultad de Creation, Universidad del Rosario. 2024
From stone to stone, love.
15 free distribution posters. Two silhouettes facing each other in a kiss. One is Simón Bolívar and the other was me. I made 15 posters in which I printed different love phrases said by the pro-independence heroine Policarpa Salavarrieta in the historical soap opera "La Pola". The posters were installed at the Santander House Museum in Bogotá for the exhibition "To love made her free" Curated by David Julián Cortés and María Antonia Fernandez.
2023.
2023.
The voice and the thing
Sound research about the memory of things and objects in people's minds and in their voices. Residence at the Sound Art Center of Buenos Aires. 2022. Photos by Susi Maresca ©
The voice, the thing and the sky
An object is an inanimate material thing, generally of small or medium size, that can be perceived by the senses. How much of us remains in all the inanimate material things we have loved, lost, hated, desired, given away or forgotten? How much do they resonate in our memory and in our memories? How much do we remember ourselves when we evoke them? What will the constellation be like that is made of all things when we are not there? The dome of the planetarium in Bogotá was the stage in which 12 readers told some personal stories about objects while the attendees looked towards space and the stars. Record of live sound action at the Bogotá Planetarium. *With the voices of:
Mariana Angulo, To1Bo1, Luisa Clavijo, Juliana García, Estefanía Guarquin, Ivette Liang, Heidi Maldonado, Álvaro Robledo, David Muñoz, Alma Sarmiento, Nicolás Serrano and Lony Welter. Thanks to Carol Sabbadini and Alejandro Duque from CKWEB. 2023
Mariana Angulo, To1Bo1, Luisa Clavijo, Juliana García, Estefanía Guarquin, Ivette Liang, Heidi Maldonado, Álvaro Robledo, David Muñoz, Alma Sarmiento, Nicolás Serrano and Lony Welter. Thanks to Carol Sabbadini and Alejandro Duque from CKWEB. 2023
Ruidosa
Live sound action. Composition for voice and car audio. Two-channel video projection. 2020
Towards the mid-seventeenth century, when Venetian opera consolidated as a new musical
genre for public performance, the singing of women took on a distinct prominence for the first
time. I would like to think that Ruidosa, Adriana García’s latest work, is an aria from a
contemporary opera where she plays the role of an anti-diva. This aria tells the story of a
feminine voice that gets into an argument with herself. The singer stands at full center stage
facing the camera with a hieratic attitude. At first her voice seems naive and angelic, a white
voice mimicking the sound of a car engine. Later on she utters a sharp “no” followed by a shy
“yes.” At other moments she sings melodies and then leaves them floating. She also makes
sounds that within a tonal system would be considered “noises.” Minutes later the voice grows
more vigorous and departs from the initial timbre.
Little by little, from the back of the stage, four strange machines advance towards her. As the
minutes go by and they come closer to the singer, the sound of an engine grows stronger. Her
voice also picks up. She closes her performance with a sentence: this voice is mine. From the
initial wavering heard fifteen minutes earlier, when she argued between a “yes” and a “no,” she
now moves into self-assertion. She ends her story like a Venetian prima donna, although she is
not a professional singer or a virtuoso, and although her bodily demeanor is that of an anti-diva.
She has infiltrated the machines’ audio systems to get them to amplify her own voice, so that it
booms. And even so that she may hear herself and finally say that, yes, that voice is indeed
hers.
Nadia Moreno Moya
May 2020
Towards the mid-seventeenth century, when Venetian opera consolidated as a new musical
genre for public performance, the singing of women took on a distinct prominence for the first
time. I would like to think that Ruidosa, Adriana García’s latest work, is an aria from a
contemporary opera where she plays the role of an anti-diva. This aria tells the story of a
feminine voice that gets into an argument with herself. The singer stands at full center stage
facing the camera with a hieratic attitude. At first her voice seems naive and angelic, a white
voice mimicking the sound of a car engine. Later on she utters a sharp “no” followed by a shy
“yes.” At other moments she sings melodies and then leaves them floating. She also makes
sounds that within a tonal system would be considered “noises.” Minutes later the voice grows
more vigorous and departs from the initial timbre.
Little by little, from the back of the stage, four strange machines advance towards her. As the
minutes go by and they come closer to the singer, the sound of an engine grows stronger. Her
voice also picks up. She closes her performance with a sentence: this voice is mine. From the
initial wavering heard fifteen minutes earlier, when she argued between a “yes” and a “no,” she
now moves into self-assertion. She ends her story like a Venetian prima donna, although she is
not a professional singer or a virtuoso, and although her bodily demeanor is that of an anti-diva.
She has infiltrated the machines’ audio systems to get them to amplify her own voice, so that it
booms. And even so that she may hear herself and finally say that, yes, that voice is indeed
hers.
Nadia Moreno Moya
May 2020
Ruidosa
Live sound action. Composition for voice and car audio. Two-channel video projection. 2020
Tongue, language, person, silence
Rubber tongue, video projection in real time and live action.
Action to be carried out during art exhibitions. I transcribe my thoughts in real time in complete silence.
The text is projected onto the wall, next to a hyper realistic rubber tongue. 2016 The live written text can be read at the link.
Action to be carried out during art exhibitions. I transcribe my thoughts in real time in complete silence.
The text is projected onto the wall, next to a hyper realistic rubber tongue. 2016 The live written text can be read at the link.
Tongue, language, person, silence
Rubber tongue, video projection in real time and live performance.
Action to be made during art exhibitions. I transcribe my thoughts in real time in complete silence.
The text is projected onto the wall, next to a hyper realistic rubber tongue. 2016
The text written live can be read at the link:
Action to be made during art exhibitions. I transcribe my thoughts in real time in complete silence.
The text is projected onto the wall, next to a hyper realistic rubber tongue. 2016
The text written live can be read at the link:
The house is still there
Video projection in real time and live action.
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still is there, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still is there, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
The house is still there
Video projection in real time and live action.
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still exists, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still exists, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
The house is still there
Video projection in real time and live action.
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still exists, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
Live transcription of my mother's statements about the houses she lived in as a child, one that doesn't exist and another that still exists, located in the San Felipe neighborhood of Bogotá. The action took place in a showcase located in the neighborhood, now recognized as an art district. I also interviewed other residents of the neighborhood who live with their new use.
Viewers can only read the text from the outside, and hear nothing.
Exhibition held in the Cabinet of Flora ars+natura. Photography by León Darío Peláez Semana Magazine. All rights reserved. 2017
Silence and calm
Posters in public space. 1996
Silence and calm
Posters in public space. 1996
Silence and calm
Posters in public space. 1996
Arte: Pro Gallery
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