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Nació en 1974. Vive y trabaja en Bogotá.
Maestra en Artes Plásticas con especialización en Escultura, de la Universidad Nacional de Colombia. Ha desarrollado estudios de Maestría en Antropología en la Univesidad de los Andes.
En su trabajo plástico ha explorado desde diferentes medios, la identidad racial, la cultura afrocolombiana y su representación en la cultura contemporánea. Artista con profundo interés en la educación artística, ha trabajado en diferentes proyectos sociales que se benefi cian del arte. Ha mostrado su trabajo fotográfi co local e internacionalmente.
LILIANA ANGULO
Entrevsita con José Roca
Pese a su relativamente corta carrera, Liliana Angulo ha desarrollado una de las refl exiones más agudas sobre las cuestiones de la raza y género en Colombia, un país de un racismo soterrado en donde las “minorías” son demográfi camente parte sustancial de la composición ciudadana. Angulo ha analizado las imágenes que caracterizan lo negro en la cultura visual colombiana, señalando los estereotipos que se anclan en la conciencia colectiva. En el contexto del eje conceptual Xenofi lia/xenofobia, el trabajo de Angulo aporta una refl exión importante sobre la construcción de la identidad nacional a partir de la segregación a un “extranjero” interno.
José Roca: ¿Que entiendes por hospitalidad?
Liliana Angulo: La hospitalidad es acomodar al visitante, recoger y proteger al extranjero y enriquecerse con su experiencia, estar dispuesto a transformarse con la irrupción de lo extraño. El griego para hospitalidad es
“fi loxenia”, amor por los extraños. La palabra “hospital” viene de esta idea, un hospital es un albergue.
JR: ¿Te parece pertinente este tema para un evento artístico?
LA: Es importante que en el MDE07 las actividades no están orientadas hacia una exposición tradicional, sino más bien, hacia compartir, conocerse, hospedar a los visitantes y nutrir la idea de ser amplios, expansivos, creadores de mundos, incluso buscando que haya espacios físicos que permanezcan a manera de puentes.
JR: ¿Cuál es la relación de tu trabajo con lo anterior?
LA: Refl exiono desde la cultura visual, sobre la representación en el lenguaje y la Historia. Trabajo sobre lo negro, desde mi propia experiencia y mi entorno, sobre las identidades contemporáneas y sobre los actos de afi rmación que las expresan. Mi trabajo se pregunta sobre situaciones contemporáneas que refl ejan la manera en que históricamente las comunidades negras en América han estado en la situación del extraño, sujetas al desconocimiento, la mezquindad, la avaricia y el recelo.
Un ejemplo de esto, es como muchos migrantes de comunidades negras, que se han desplazado esperando la hospitalidad que ellos le hubieran ofrecido al visitante en su región, en la mayoría de los casos no la encuentran. La situación del confl icto en Colombia, ha convertido en algo común la migración forzada de las poblaciones negras, en el que a pesar de estar bajo la misma nacionalidad, se está lejos de su lugar y fuera de casa.
JR: ¿Consideras que el arte tiene alguna capacidad para generar una refl exión sobre las relaciones que se establecen con el otro?
LA: Las prácticas artísticas contemporáneas hacen difusa la vieja distinción entre aquel que era el objeto de la mirada, (en algunos casos también llamado “objeto de estudio”), quien producía la imagen, (que generalmente encajaba en la elite defi nida como el “Hombre”: blanco, varón, europeo, educado, capaz); y el espectador que era quien tenía derecho o le era permitido mirar. Estas prácticas actúan en la intersección entre vida y poder, tienen una capacidad subversiva, la libertad de actuar, experimentar, jugar y de ampliar las facultades creativas del ser humano.
LILIANA ANGULO CORTÉS
“Negra Menta”, 2000
18 Fotografías color, 2/7.
10 Fotografías: 40 x 50 cm. c/u.
2 Fotografías: 15 x 18 cm. c/u.
2 Fotografías: 13 x 10 cm. c/u.
3 Fotografías: 10 x 8 cm. c/u.
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