As artist, mediator, and researcher, my practice unfolds in the form of collaborative creative situations. My approach brings together bodies, emotions, spaces, and diverse materialities linked through gestures such as observing, listening, walking, writing, drawing, and swimming.
My co-elaborative, social, and epistemic practice focuses on collective care and resistance practices involving water and rivers as active agents in the transformation of trauma. Supervisors: Prof. Dr. Eduardo Jorge de Oliveira & Prof. Dr. Andrea Botero Address: Based in Bogota
This paper contributes to the literature by approaching trauma from a transgenerational perspecti... more This paper contributes to the literature by approaching trauma from a transgenerational perspective considering the role of water and rivers as transformative agents.
María Ordóñez-Cruz: Of Rivers and Echoes
Colombia’s Aqueous Communities from a Transgenerational Perspective
In the water, echoes follow paths sometimes overflowing their borders. Colombia is a territory vastly drenched and irrigated by water, where rivers have had a central role by bearing deep and extensive imprints of the dynamics and consequences of the armed conflict and extractive practices. In this context, water not only constitutes traumatic experiences, but is also the medium and entity for imagining new forms of encounter, and ultimately, alternative means of resistance. With a transgenerational and intersectional approach, I navigate in this essay into the collective research experience developed together with a group of children living on the riverbank of the Cauca river. Through a collaborative creative situation, we explored the ways they relate to that river, and their experiences – some of them traumatic. Finally, I investigate how to activate new forms of transgenerational resistance.
En Colombia, la desaparición de personas ha discurrido en una compleja ecología de lo humano y lo... more En Colombia, la desaparición de personas ha discurrido en una compleja ecología de lo humano y lo no-humano, lo deshecho, y los desechos. Un paisaje en la que circulan cuerpos ocultos, enterrados y vertidos en ríos, botaderos, escombreras, zonas de excedentes, y particularmente en cementerios, configurando formas híbridas de vida y sentido entre la muerte. Aquí, abordo la desaparición desde su comprensión como un fenómeno latente en el paisaje, el cual, como los cuerpos e identidades de quienes son desaparecidos, es sujeto de una transformación violenta, continua, y en algunos casos, irreversible. Una espacialidad en la que las cargas simbólicas y materiales embebidas –aquellas que posibilitan procesos de resistencia, politización, y la creación de otras formas de futuro– se encuentran en riesgo de ser radicalmente transformadas y de desaparecer. De este modo, este artículo responde a una aproximación metodológica ad hoc en la que a través de la investigación-creación, y la observac...
Este kit pedagógico escolar busca contribuir a la divulgación de las violencias de Estado con el ... more Este kit pedagógico escolar busca contribuir a la divulgación de las violencias de Estado con el fin de aprender sobre el pasado y, al mismo tiempo, conocer las consecuencias y discutir las formas de prevenir la repetición de estos crímenes en el futuro.
Editoras
Andrea Cagua Martínez Marcela Pardo
Laura Valencia Espinosa
Autores
Alejando Ramelli
Laura Valencia
Robinzon Piñeros
Julio Roberto Jaime Andrea Cagua Martínez María Ordónez-Cruz Marcela Pardo
Fernando González Santos Doris Santos
Stefan Peters
On Making Art as a Thinking Mode
How to teach art? What kind of knowledge should artists absorb?... more On Making Art as a Thinking Mode
How to teach art? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process; a non-artist become an artist? Such programmatic questions articulated by the acclaimed Polish artist Artur Żmijewski were at the heart of the workshop “How to Teach Art?” Between April and July 2018, Żmijewski invited a group of graduate and PhD students from three Zurich universities—the ETH (Swiss Federal Institute of Technology), the UZH (University of Zurich), and the ZHdK (Zurich University of the Arts)—to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises devised by Żmijewski himself.
This book retraces the workshop and its process by means of inconclusive, fragmentary results between theory and practice:. It presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, “How to Teach Art?”
Editors: Wiktoria Furrer, Carla Gabrí, Nastasia Louveau, Maria Ordoñez, and Artur Zmijewski
This paper contributes to the literature by approaching trauma from a transgenerational perspecti... more This paper contributes to the literature by approaching trauma from a transgenerational perspective considering the role of water and rivers as transformative agents.
María Ordóñez-Cruz: Of Rivers and Echoes
Colombia’s Aqueous Communities from a Transgenerational Perspective
In the water, echoes follow paths sometimes overflowing their borders. Colombia is a territory vastly drenched and irrigated by water, where rivers have had a central role by bearing deep and extensive imprints of the dynamics and consequences of the armed conflict and extractive practices. In this context, water not only constitutes traumatic experiences, but is also the medium and entity for imagining new forms of encounter, and ultimately, alternative means of resistance. With a transgenerational and intersectional approach, I navigate in this essay into the collective research experience developed together with a group of children living on the riverbank of the Cauca river. Through a collaborative creative situation, we explored the ways they relate to that river, and their experiences – some of them traumatic. Finally, I investigate how to activate new forms of transgenerational resistance.
En Colombia, la desaparición de personas ha discurrido en una compleja ecología de lo humano y lo... more En Colombia, la desaparición de personas ha discurrido en una compleja ecología de lo humano y lo no-humano, lo deshecho, y los desechos. Un paisaje en la que circulan cuerpos ocultos, enterrados y vertidos en ríos, botaderos, escombreras, zonas de excedentes, y particularmente en cementerios, configurando formas híbridas de vida y sentido entre la muerte. Aquí, abordo la desaparición desde su comprensión como un fenómeno latente en el paisaje, el cual, como los cuerpos e identidades de quienes son desaparecidos, es sujeto de una transformación violenta, continua, y en algunos casos, irreversible. Una espacialidad en la que las cargas simbólicas y materiales embebidas –aquellas que posibilitan procesos de resistencia, politización, y la creación de otras formas de futuro– se encuentran en riesgo de ser radicalmente transformadas y de desaparecer. De este modo, este artículo responde a una aproximación metodológica ad hoc en la que a través de la investigación-creación, y la observac...
Este kit pedagógico escolar busca contribuir a la divulgación de las violencias de Estado con el ... more Este kit pedagógico escolar busca contribuir a la divulgación de las violencias de Estado con el fin de aprender sobre el pasado y, al mismo tiempo, conocer las consecuencias y discutir las formas de prevenir la repetición de estos crímenes en el futuro.
Editoras
Andrea Cagua Martínez Marcela Pardo
Laura Valencia Espinosa
Autores
Alejando Ramelli
Laura Valencia
Robinzon Piñeros
Julio Roberto Jaime Andrea Cagua Martínez María Ordónez-Cruz Marcela Pardo
Fernando González Santos Doris Santos
Stefan Peters
On Making Art as a Thinking Mode
How to teach art? What kind of knowledge should artists absorb?... more On Making Art as a Thinking Mode
How to teach art? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process; a non-artist become an artist? Such programmatic questions articulated by the acclaimed Polish artist Artur Żmijewski were at the heart of the workshop “How to Teach Art?” Between April and July 2018, Żmijewski invited a group of graduate and PhD students from three Zurich universities—the ETH (Swiss Federal Institute of Technology), the UZH (University of Zurich), and the ZHdK (Zurich University of the Arts)—to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises devised by Żmijewski himself.
This book retraces the workshop and its process by means of inconclusive, fragmentary results between theory and practice:. It presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, “How to Teach Art?”
Editors: Wiktoria Furrer, Carla Gabrí, Nastasia Louveau, Maria Ordoñez, and Artur Zmijewski
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María Ordóñez-Cruz: Of Rivers and Echoes
Colombia’s Aqueous Communities from a Transgenerational Perspective
In the water, echoes follow paths sometimes overflowing their borders. Colombia is a territory vastly drenched and irrigated by water, where rivers have had a central role by bearing deep and extensive imprints of the dynamics and consequences of the armed conflict and extractive practices. In this context, water not only constitutes traumatic experiences, but is also the medium and entity for imagining new forms of encounter, and ultimately, alternative means of resistance. With a transgenerational and intersectional approach, I navigate in this essay into the collective research experience developed together with a group of children living on the riverbank of the Cauca river. Through a collaborative creative situation, we explored the ways they relate to that river, and their experiences – some of them traumatic. Finally, I investigate how to activate new forms of transgenerational resistance.
Editoras
Andrea Cagua Martínez Marcela Pardo
Laura Valencia Espinosa
Autores
Alejando Ramelli
Laura Valencia
Robinzon Piñeros
Julio Roberto Jaime Andrea Cagua Martínez María Ordónez-Cruz Marcela Pardo
Fernando González Santos Doris Santos
Stefan Peters
How to teach art? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process; a non-artist become an artist? Such programmatic questions articulated by the acclaimed Polish artist Artur Żmijewski were at the heart of the workshop “How to Teach Art?” Between April and July 2018, Żmijewski invited a group of graduate and PhD students from three Zurich universities—the ETH (Swiss Federal Institute of Technology), the UZH (University of Zurich), and the ZHdK (Zurich University of the Arts)—to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises devised by Żmijewski himself.
This book retraces the workshop and its process by means of inconclusive, fragmentary results between theory and practice:. It presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, “How to Teach Art?”
Editors: Wiktoria Furrer, Carla Gabrí, Nastasia Louveau, Maria Ordoñez, and Artur Zmijewski
The book is available to puchase here: https://press.uchicago.edu/ucp/books/book/distributed/H/bo127639788.html
María Ordóñez-Cruz: Of Rivers and Echoes
Colombia’s Aqueous Communities from a Transgenerational Perspective
In the water, echoes follow paths sometimes overflowing their borders. Colombia is a territory vastly drenched and irrigated by water, where rivers have had a central role by bearing deep and extensive imprints of the dynamics and consequences of the armed conflict and extractive practices. In this context, water not only constitutes traumatic experiences, but is also the medium and entity for imagining new forms of encounter, and ultimately, alternative means of resistance. With a transgenerational and intersectional approach, I navigate in this essay into the collective research experience developed together with a group of children living on the riverbank of the Cauca river. Through a collaborative creative situation, we explored the ways they relate to that river, and their experiences – some of them traumatic. Finally, I investigate how to activate new forms of transgenerational resistance.
Editoras
Andrea Cagua Martínez Marcela Pardo
Laura Valencia Espinosa
Autores
Alejando Ramelli
Laura Valencia
Robinzon Piñeros
Julio Roberto Jaime Andrea Cagua Martínez María Ordónez-Cruz Marcela Pardo
Fernando González Santos Doris Santos
Stefan Peters
How to teach art? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process; a non-artist become an artist? Such programmatic questions articulated by the acclaimed Polish artist Artur Żmijewski were at the heart of the workshop “How to Teach Art?” Between April and July 2018, Żmijewski invited a group of graduate and PhD students from three Zurich universities—the ETH (Swiss Federal Institute of Technology), the UZH (University of Zurich), and the ZHdK (Zurich University of the Arts)—to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises devised by Żmijewski himself.
This book retraces the workshop and its process by means of inconclusive, fragmentary results between theory and practice:. It presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, “How to Teach Art?”
Editors: Wiktoria Furrer, Carla Gabrí, Nastasia Louveau, Maria Ordoñez, and Artur Zmijewski
The book is available to puchase here: https://press.uchicago.edu/ucp/books/book/distributed/H/bo127639788.html