AN UNCERTAIN PLEASURE: QUESTIONING THROUGH TIME & SPACE
The exhibition at the Museo de Arte Moderno de Bogotá (MAMBO) in conjunction with the Cinemateca de Bogotá presents works that highlight and manifest sociopolitical questions, identity politics, the representation and fragmentation of the body, performativity and performance, globalization and diaspora.

An Uncertain Pleasure is an exhibition that focuses on multimedia and time artworks from the Pierre Huber Collection. The title of the exhibition is taken from the eponymous work by Zhang Peili, a pioneer of video art in China, and pays homage to the global, cultural and geographically multifaceted perspectives addressed in the collection, which is unique in its heterogeneity.
The term "time-based media" describes works that unfold temporally. It encompasses film, video, mono and multichannel video installations, slide projections, multimedia environments, sound, performance and digital art.
The exhibition spans four decades and includes artists central to the history of time-based art such as Nam June Paik and Tony Oursler; and foundational figures for the development of conceptual art, such as Robert Barry and On Kawara.
The works are exhibited as ambient audiovisual installations and adopt cinematic conventions or incorporate projections, synchronized audio, or performance. An Uncertain Pleasure proposes various approaches to time-based experiences, not only in terms of form, content, or crossovers with other media and disciplines, but also in terms of their presentation.
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Rodney Graham. A Reverie Interrupted by the Police [Un sueño interrumpido por la policía]. 2003. Película de 35mm digitalizada, sonido estéreo. 08:00. Cortesía MAMBO.
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Rodney Graham. A Reverie Interrupted by the Police [Un sueño interrumpido por la policía]. 2003. Película de 35mm digitalizada, sonido estéreo. 08:00. Cortesía MAMBO.
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Mariko Mori (森万里子). Miko no Inori [Rezo de la niña chamán]. 1996. Video VHS digitalizado, sonido estéreo. 16:47. Cortesía MAMBO.
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Sylvie Fleury. Here Comes Santa [Aquí viene Santa]. 2003. Video a color, sonido estéreo. 05:57. Cortesía MAMBO.
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Roman Signer. Super-8-Filme [Películas Super-8]. 1975-1989. Películas de 8mm digitalizadas. Cortesía MAMBO.
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Un placer incierto: artes del tiempo en la Colección Pierre Huber (2022), vista de instalación (detalle). Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá - MAMBO.
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Un placer incierto: artes del tiempo en la Colección Pierre Huber (2022), vista de instalación (detalle). Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá - MAMBO.
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Un placer incierto: artes del tiempo en la Colección Pierre Huber (2022), vista de instalación (detalle). Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá - MAMBO.
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Un placer incierto: artes del tiempo en la Colección Pierre Huber (2022), vista de instalación (detalle). Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá - MAMBO.
Artists at MAMBO
Kutlug Ataman, Kader Attia, Alberto Baraya, Robert Barry, Manon de Boer, Candice Breitz, Shaoxiong Chen, Mat Collishaw, David Claerbout, Fischli & Weiss, Sylvie Fleury, Mario García Torres, Cyprien Gaillard, Rodney Graham, Dexin Gu, Isaac Julien, On Kawara, William Kentridge, Kimsooja, Liuming Ma, Paul McCarthy, Tracey Moffatt, Mariko Mori, Tony Oursler, Yoshua Okón, Nam June Paik, Paul Pfeiffer, Tino Sehgal, Roman Signer, Elaine Sturtevant, Catherine Sullivan, Gian Maria Tosatti, Fatimah Tuggar, Peili Zhang, Francesco Vezzoli, Franz West.
Artists at the Cinemateca of Bogotá
Claude Closky, Annika Larsson, Maria Marshall, Shirin Neshat, Miao Xiaochun.
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The rise of the philosophy of language in the middle of the last century impacted all areas of humanistic culture, especially theoretical thought and the arts. The notions of discourse, story and narrative are part of that linguistic turn in which culture is perceived as a text. This approach has also influenced the conceptualization, appreciation and evaluation of the visual arts, even in the face of the programmatic reluctance of art-purism and its rejection of the anecdotal. Basically, the discursive subjects, the story and the narration displaced the old leading role of the "retinal" aesthetics. Since then, a large part of the artistic questions are aired in the verbal sphere and not in the strictly sensible plane.

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María Teresa Hincapié: If This Were A Beginning of Infinity, in MACBA, is an initial attempt to organize the physical and intangible legacy of this artist, so vital to understanding present-day practices.
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The Jewish Museum of Florida-FIU opens Art Basel season in Miami Beach with the premiere of Lady Liberty: A Bonnie Lautenberg Retrospective, celebrating powerful images of women from two decades of work from the artist.
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The Jewish Museum of Florida-FIU opens Art Basel season in Miami Beach with the premiere of Lady Liberty: A Bonnie Lautenberg Retrospective, celebrating powerful images of women from two decades of work from the artist.

The rise of the philosophy of language in the middle of the last century impacted all areas of humanistic culture, especially theoretical thought and the arts. The notions of discourse, story and narrative are part of that linguistic turn in which culture is perceived as a text. This approach has also influenced the conceptualization, appreciation and evaluation of the visual arts, even in the face of the programmatic reluctance of art-purism and its rejection of the anecdotal. Basically, the discursive subjects, the story and the narration displaced the old leading role of the "retinal" aesthetics. Since then, a large part of the artistic questions are aired in the verbal sphere and not in the strictly sensible plane.
NARRATIVES: FROM META-STORIES TO POSTART
The rise of the philosophy of language in the middle of the last century impacted all areas of humanistic culture, especially theoretical thought and the arts. The notions of discourse, story and narrative are part of that linguistic turn in which culture is perceived as a text. This approach has also influenced the conceptualization, appreciation and evaluation of the visual arts, even in the face of the programmatic reluctance of art-purism and its rejection of the anecdotal. Basically, the discursive subjects, the story and the narration displaced the old leading role of the "retinal" aesthetics. Since then, a large part of the artistic questions are aired in the verbal sphere and not in the strictly sensible plane.

The Pérez Art Museum Miami (PAMM) presents, for the first time in the United States, a monographic exhibition of the work of Argentine artist Leandro Erlich. Curated by Dan Cameron, featuring sixteen works from more than two decades of production.
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Curated by El Museo curator Susanna V. Temkin, DOMESTICANX brings together seven intergenerational artists whose practices address the private sphere through works related to healing, spirituality, decoration, and the home.

María Teresa Hincapié: If This Were A Beginning of Infinity, in MACBA, is an initial attempt to organize the physical and intangible legacy of this artist, so vital to understanding present-day practices.
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