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Exhibition view ?En Medellín, todo está muy Caro?. Courtesy MAMM

"Everything is too Caro in Medellin"
Museo de Arte Moderno, Medellín (MAMM)


Medellín, Colombia

The exhibition "Everything is too Caro in Medellin" at the Museo de Arte Moderno in Medellin will remain open until March 27. Curated by Gina McDaniels-Taver, the show is part of the "Tributes at the MAMM" program of exhibitions, which on this occasion focuses on the 45 year artistic career of Colombian conceptual artist Antonio Caro.

Since 1970 the work by Antonio Caro has been a referent in the production of contemporary artistic practices like textual art, multimedia work, performance, and any art that invites interaction with viewers. With this in mind and the idea of works based on the creative communication of key universal themes that are still relevant—which allows for the works to continue as unfinished works still in the process of development—curator Gina McDaniels-Taver approaches the exhibition "Everything is too Caro in Medellin" from four thematic centers: Everything is Political, Everything is Consumption, The Indigenous is Everything, and Caro Belongs to Everybody.

The phrase that inspired the title of the exhibition originated in end of the 1970s, when Caro overheard someone on the streets say "Todo está muy caro," (Everything is too expensive) and his creative mind immediately turned it into a poster. The phrase eventually became the title of an exhibition in 1978, and then of another in 2002, both at the Museo La Tertulia in Cali. It became a sort of slogan to which Caro now added the name of the city of Medellin. Repetition is a central element in his work and the reason for often reusing some of his more emblematic works.

By resorting to ideas as central elements, Caro’s art can assume many forms. He keeps them alive through continuous recreations and mutations; interaction expands his work and also connects his artistic production to other forms of communication that lead to a type of art that is inventive in the way it is presented to the public and the manner in which it addresses everyday life. In this practice of creative communication, Caro has intentionally focused on politics, consumerism, indigenous America, popular culture and on all the values that these express. In the current exhibition these categories provide focal point to examine Caro’s work and its evolution through time.

The MAMM presents central elements of Caro’s work, like the workshops that he has been imparting since 1990 and that have taken him to Popayán, Sogamoso, Tunja, Ecuador and Brazil. In them, Caro interacts with people to convey the message that one can be creative without necessarily being limited by technique or method as long as one allows the free flow of ideas. 

Thus, this retrospective becomes the most comprehensive exhibition of his work to date. It pays tribute to this important Colombian artist as it reconstructs certain forgotten works and also delves into those that Caro presented in Medellin for the first time: Maíz (Corn) y Proyecto 500 (Project 500), as well as a new version of San Andrés, Providencia y Santa Catalina, on display in one of the small squares that surround the museum.




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