Right now is a historical moment in Colombia: it is an opportunity to rethink reformulate education as a tool to build peace.
MITI MITI is a social business that addresses educational inequity by bringing learning tools to students, building accountability for a sustainable future. MITI MITI brings communities together towards education and social change.
MITI MITI designs and produces locally manufactured notebooks in Bogotá. Through a buy-one-give-one model, half of out notebooks are donated to students in Colombia who need them to complete their educational goals. For every notebook you buy, you share an identical one with a student.
Currently, MITI MITI has partnered with Fundación Formemos, a nonprofit school in Tena that offers education to children from different rural areas in Colombia.
In the surrounding areas of the Central Cemetery, there are a series of places that also guard some of the popular and historical secrets of the Bogota. These places tell the stories of many people and of the growth and transformation of a city.
The Central Cemetery of Bogotá is a patrimonial site of the city where the most powerful and famous men of Colombia have historically been buried. Paradoxically, the official leaders of the country such as former presidents and city mayors, are now buried next to protester leaders, former guerrilla activists and left party militants: those who battled in life, share a common ground in death.
Throughout the years, the neighborhood that embraces the Cemetery has turned in the most dangerous and obscure neighborhood of Bogotá. Its inhabitants; street workers and delinquents are however, the most devoted visitors of the Cemetery.
Through different rituals and beliefs, these visitors have transformed the Cemetery into a living site of popular priests, death artists, unofficial saints and popular cults. Many of the anonymous people buried in here, have became famous in account of their names, their grave inscription or simply because of the fictional stories that have emerged and surround them.
*Project developed for the Centro de Memoria, Paz y Reconciliación, with the collaboration of the team at the CMPR. Design team: Juan Sebastián Orjuela.
AE is a collective project that started within the St. Quentin prison as an attempt to create a space for artistic expression, resistance and protest. The US incarceration system is the largest in the world and is subject of private interests that jeopardize the humanity and the dignity of its inmates. Artistic Ensemble is a platform seeks to create a culture to end cycles of incarceration. As a collaborator with AE, I designed their web platform and its communication strategy, which aims to create proximity between the general public and the incarcerated people.
Stories of Life in the City of Death is a collection of interviews, chronicles and essays related to the Central Cemetery of Bogota, a historical site that guards many secrets and stories of the construction and growth of a nation and its myths.
Narrated by the people who work in the cemetery –such as the guards, the musicians and the flower sellers–, the people who have studied it as a site of historic relevance, and the people who visit it and activate it through myths and rituals; this book gathers an unknown story of the most emblematical cemetery in the country.
* Project developed for the Centro de Memoria, Paz y Reconciliación, with the collaboration of the team at the CMPR. Design team: Carolina González, Daniel Olarte, Juan Sebastián Orjuela (illustrations)
In 2001 a devastating winter season brought a social crisis to many towns and villages of Colombia, which were destroyed and affected by the flooding. Thousands of people were affected and hundreds of questions about climate change and how to deal with it were raised. A multidisciplinary workshop was created to discuss this natural phenomenon and the way we currently conceive the world and our relation towards nature and climate. The workshop resulted in the collective design and publication of a handmade fanzine that compiled the doubts and ideas that a group of people had about the climate emergency in Colombia in the form of drawings, sentences and annotations.
*Photo credits: Carlos Urrego, Santiago Piñol
El Tren de la Memoria
The Sabana Railway Station of Bogota used to be the entrance to the city and the geographical boundary of Bogota. After being abandoned for decades, the Station is being reactivated through different dynamics and cultural initiatives. On August, 2014, the students of a local school organized a theatre play based on the history of the Train Station. The advertising campaign for the event had the intention of invading the city’s walls through colorful quotes that referenced the Station and black and white photographs from the old railways and locomotives.
*Photographs by Ivanna Díaz
Some posters that I have designed for art events and exhibitions.
These screen prints are part of a body of work (in process) about volcanos, that reflects on their relation to the origin of life and the notion of habitable territories. Through the interpretation of volcanos as the genesis of geo-political land, I am reflecting on the ways in which the current global environment has completely mutated through the mobilization of people across continents and countries, putting the traditional ideas of boundaries and frontiers into question. I am drawn to explore the mythical aspect of volcanos as the originators of life, in relation to the mythical character of man-made politics that exist under an imaginary dynamic of authority over nature.
Hunga Tonga-Hunga volcano (erupted in 2014)
Mount Tambora (erupted in 1815)
The origin of concrete poetry is related to the growth of industry and technology in Europe in the 1930’s, the rise of abstraction in the arts, and the advent of modernism. The concrete poetry movement claimed that poetry was not only a form of literary expression, but a visual media that could transmit, through shapes and typographic layouts, the values of modernity. As in architecture, in concrete poetry the form is a very part of the function. In South America, the concrete poetry movement rose between the 50’s and 70’s, with the arrival of modernity and the dream of a developed south. By that time, the idea of changing the political landscape was very related to the idea of modifying the geographical landscape.