Nancy Friedemann-Sánchez’s art captures the complex experience of physical migration intertwined with a lasting connection to her Colombian roots. Through an intersectional feminist lens, she creates a rich visual narrative that spans paintings, sculptures, objects, and mixed media. Together, these diverse forms engage in layered dialogues about cultural hybridity and questions of belonging and ownership. Her multimedia practice delves deeply into identity, migration, and cultural inheritance, often highlighting the intersections of gender and memory within Latin American and feminist contexts. Friedemann-Sánchez blends various materials and techniques—including painting, drawing, and installation—to construct symbolic, intricate compositions. Drawing inspiration from colonial and Baroque imagery alongside personal and collective memories, her work reflects stories of displacement, resilience, and cultural transformation. By weaving together these diverse influences, Friedemann-Sánchez invites viewers to reflect on the ongoing negotiation of identity and heritage in a globalized world. ...
Instituto de Vision is a Bogotá and New York based gallery for conceptual practices. Their mission is to investigate conceptual discourses that have been neglected by the official Latin American art canon. They have recovered important estates from the Latin American art of the mid century and continue to research the most enigmatic oeuvres of the region. Through a parallel program, they represent some of the most relevant contemporary practices from Colombia, Chile, North America, Venezuela, and others. Directed by three women, Instituto de Vision gives special attention to female voices, queer theories, environmental activism, the conflicts of migration, and other critical positions that challenge the established order. Using the international art scene as a platform, they are committed to give visibility and expand the work of artists that reveal critical realities and raise important questions for these contemporary subjects. ...
