Beatriz González, a Colombian artist who transformed an abandoned columbarium into a haunting memorial to the victims of Colombia's near century-long period of political violence and drugs wars, has passed away at 93.
In 2009, González, an artist known for her appropriation of imagery from mass media, turned the crumbling mausoleum in Bogotá's Central Cemetery into Auras Anónimas (Anonymous Auras), a series of silkscreened motifs on eight tombstones featuring two figures hauling a body between them. The project was a poignant response to the country's history of bloodshed and social injustice.
Born in Bucaramanga, González studied architecture before transitioning to art, graduating from Universidad de los Andes in Bogotá in 1962. Her work took on a more overtly political tone in the 1980s, particularly following the siege at the Palace of Justice in 1985.
In her oeuvre, González explored themes of power and conflict, often using imagery from mass media to convey her message. Works such as Señor Presidente, Qué Honor Estar Con Usted en Este Momento Histórico (1987), based on a press photograph of the then-president, demonstrate her ability to transform visual narratives into powerful statements.
Throughout her career, González received numerous accolades, including retrospectives at prominent museums like the Reina Sofía in Madrid and the Pérez Art Museum Miami. Her work has been included in notable exhibitions such as the Berlin biennale and The World Goes Pop at Tate Modern in 2015.
In 2009, González, an artist known for her appropriation of imagery from mass media, turned the crumbling mausoleum in Bogotá's Central Cemetery into Auras Anónimas (Anonymous Auras), a series of silkscreened motifs on eight tombstones featuring two figures hauling a body between them. The project was a poignant response to the country's history of bloodshed and social injustice.
Born in Bucaramanga, González studied architecture before transitioning to art, graduating from Universidad de los Andes in Bogotá in 1962. Her work took on a more overtly political tone in the 1980s, particularly following the siege at the Palace of Justice in 1985.
In her oeuvre, González explored themes of power and conflict, often using imagery from mass media to convey her message. Works such as Señor Presidente, Qué Honor Estar Con Usted en Este Momento Histórico (1987), based on a press photograph of the then-president, demonstrate her ability to transform visual narratives into powerful statements.
Throughout her career, González received numerous accolades, including retrospectives at prominent museums like the Reina Sofía in Madrid and the Pérez Art Museum Miami. Her work has been included in notable exhibitions such as the Berlin biennale and The World Goes Pop at Tate Modern in 2015.