Diana Ramirez

Today, it is possible to talk about a reactivation of the artistic practices linked to the alternatives offered by printmaking in our region; for instance, in the municipality of Envigado we can find the Deúniti Studio, an art collective that has been doing graphic interventions in public spaces since 2006; meanwhile, the Prueba de Estado

The 1990s was a period of pluralism, a reflection of the 1991 Political Constitution which declared that Colombia was a Social State under the rule of law. The view of an increasingly globalized world prevailed, a world unified in accordance with the development of new information technologies, economic opening, educational policies and, above all, cultural

In the 1980s Medellin became the epicenter of a series of problems that had been brewing since the first half of the 20th century: uncontrolled population growth, unemployment, poverty and a discredited political class. Drug trafficking burst in with increasing power to the point of permeating the political class. Dark forces in collusion with the

Unavoidably, Colombian printmaking established an alliance with cultural events closely related to political movements and the social protest, reaffirming the bent of many artists to do numbered prints with the aim of making their slogans popular. The new problems that afflicted Colombia (violence, poverty, and inequality, among others) did not go unnoticed by the new

It is possible to trace back the evolution of printmaking in Antioquia as an standalone technique of artistic expression by doing a careful review of the history of the Printmaking Workshop of the Institute of Fine Arts of the University of Antioquia, founded by Aníbal Gil in 1960, when the university campus had not yet