Former Colombian President Álvaro Uribe Vélez confronted a group of protesters outside his residence in Rionegro, Antioquia, on Wednesday after activists began painting a mural referencing victims of Colombia’s “false positives” scandal.

Videos and images shared widely on social media showed Uribe surrounded by security personnel while holding a paint roller near the wall where the mural was being painted. Wearing a light field jacket and broad-brimmed hat, the former president appeared visibly upset as tensions rose between demonstrators, supporters and members of his security team.

The incident quickly became one of Colombia’s most discussed political flashpoints this week, exposing deep divisions surrounding the country’s internal armed conflict with ex-FARC, the transitional justice system, and the increasingly polarized 2026 presidential race. The official candidate of Uribe’s Centro Democrático party, Paloma Valencia, is considered Cepeda’s strongest rival in the event of a run-off election on June 21.

Uribe later said he had interrupted a political meeting in Medellín after receiving a call informing him that a large group had gathered near the entrance to his property while his wife was home alone.

“Cowardly Cepeda, stop sending people to my house where my lady was alone,” Uribe wrote on X Wednesday, referring his political foe and presidential frontrunner Iván Cepeda.

In a separate statement, Uribe accused the hard-leftist senator and Hernán Muriel, a congressman from the governing Historic Pact coalition, of promoting what he described as “acts of provocation and intimidation” against his family.

According to Uribe, the protesters arrived in three buses and gathered close to the entrance of the estate while artists painted the mural. He claimed one of his supporters was injured with a knife during the confrontation and said a member of his security detail was also hurt.

“I told them that I was going to erase the mural,” Uribe wrote. “Before provoking violence against my family and our home, they would have to kill me.”

Later footage showed Uribe personally covering the painted wall with a roller while supporters and security personnel stood guard nearby.

The mural referenced the latest figures released by Colombia’s Special Jurisdiction for Peace (JEP), the transitional tribunal created following the 2016 peace accord with FARC. The tribunal recently updated estimates tied to the “false positives” scandal, in which civilians were allegedly killed by members of the armed forces and falsely presented as combat casualties during more than four decades of Colombia’s internal conflict.

Muriel, who organized the demonstration, rejected accusations that the protest was intended to threaten Uribe or his family. He described the gathering “as a peaceful act” organized by victims’ organizations, social movements and human rights defenders seeking to highlight the revised JEP findings.

“We are carrying out an act of social mobilization and memory pedagogy,” Muriel said in remarks shared online. “We are here with social organizations, victims and human rights defenders following the new figure of 7,837 false positives announced by the JEP.”

According to Muriel, the mural was painted on public property near the residence and was intended to commemorate victims of the conflict.

The confrontation prompted swift reactions from political allies of the former president in Antioquia, one of Colombia’s most conservative regions and a longtime bastion of Uribe’s “democratic security” agenda.

Medellín Mayor Federico Gutiérrez criticized the protest and accused supporters of President Gustavo Petro of fostering political hostility toward opposition figures. “It’s the same method used during the last mayoral campaign in Medellín,” he wrote on social media, adding that political tensions in the country were continuing to escalate.

Antioquia Governor Andrés Julián Rendón also condemned the incident and called for respect toward Uribe and his family.

The episode underscores how historical revisionism spread on social media continues to discredit the legacy of the country’s two-term president (2002-2010), and leading opposition leaders. By Thursday morning, the images from Rionegro — showing Uribe beside the mural with a paint roller in hand — had spread across Colombian media and social networks, becoming the latest symbol of how the left justifies ideologically-fueled protests to vandalize public space and infrastructure.

When One Hundred Years of Solitude author Gabriel García Márquez accepted the Nobel Prize for Literature in Stockholm in 1982, Colombia arrived with him — not only in prose, but in rhythm, drumbeat and dance.

Among the delegation of more than 200 Colombian musicians and artists who traveled to Sweden was a barefoot singer from the banks of the Magdalena River whose voice would stop the banquet hall in its tracks. Her name was Sonia Bazanta Vides, though the world would come to know her simply as Totó La Momposina.

“It was as if everyone from Macondo had come down the staircase of Stockholm City Hall,” The City Paper wrote in a 2016 profile titled Colombia’s Queen of Cumbia. Totó, wrapped in the musical traditions of Colombia’s Caribbean interior, danced across the marble floors singing cumbia and bullerengue before royalty and diplomats.

After the performance, she recalled, a palace official approached with a message from the Queen of Sweden: “Never stop singing.” And for more than six decades, she never did.

On Tuesday, Colombia awoke to the news that Totó La Momposina had died at age 85 in Mexico, where she had been living in recent years after retiring from music in 2022 due to declining health. Colombia’s Ministry of Culture confirmed her death, calling her “eterna Totó,” the eternal voice who elevated and transformed the traditional music of the Caribbean coast.

Her son, Marcio Vinicio, told Colombian media that the singer had spent recent months in palliative care. President Gustavo Petro described her as an “illustrious figure of Colombian Caribbean art and culture.” Opposition leader and presidential candidate Paloma Valencia highlighted that Totó la Momposina “took our music to the world and taught us to feel pride in what is ours. Her legacy is the nation’s heritage”.

Born in 1940 in Talaigua Nuevo, on the Magdalena River near Santa Cruz de Mompox, Totó emerged from a lineage where music was inherited as naturally as language itself. Her father was a shoemaker and drummer; her mother sang, danced and played the mandola. By age six, Totó was already performing onstage.

But it was the villages and wetlands of Colombia’s Caribbean coast that became her true conservatory.

As a teenager, she traveled from town to town absorbing rhythms born from the collision of African, Indigenous and Spanish traditions. She studied the cantadoras — women who sang while washing clothes in the river, grinding corn or tending cassava fields — and transformed those oral traditions into a musical language that would eventually reach audiences around the globe.

“The love for music is passed on through your genes,” she told The City Paper in 2016. “I never lost my sense of belonging.”

That belonging was rooted in Mompós, the island town from which her stage name derived. For centuries, the Magdalena River served as Colombia’s great cultural artery, carrying not only gold and commerce inland from the Caribbean coast, but rhythms: cumbia, mapalé, chalupa, porro and bullerengue.

Totó would become their most recognizable ambassador.

After her family fled violence during Colombia’s mid-century civil conflict and settled in Bogotá, her mother transformed their home into a sanctuary for Caribbean music. Musicians such as Lucho Bermúdez passed through the house, and Totó soon formed her own group in the 1960s, performing at neighborhood parties and on television.

In the 1980s, she moved to Paris to study at the Sorbonne University, immersing herself in music history, choreography and stage production while singing in metro stations, restaurants and street corners throughout the French capital.

France would become a second home — and the launching pad for international recognition.

Her breakthrough arrived when Peter Gabriel heard her perform and invited her to record at his Real World studio near Bath, England. The resulting 1993 album, La Candela Viva, introduced global audiences to songs like El Pescador and cemented her place on the world music stage.

She would go on to perform across Europe, Latin America and the United States, reportedly appearing more than 300 times at New York’s Radio City Music Hall. Her influence stretched far beyond folk music circles. Artists including Manu Chao and Timbaland sampled her work, while she lent vocals to Latinoamérica.

Though often called “The Queen of Cumbia” or “The Voice of Colombia,” Totó resisted celebrity detached from tradition. For her, the stage remained sacred. “The stage is a temple,” she told The City Paper. “You must respect it. I give my heart to the audience. It is a commitment.”

Even in her seventies, she continued performing with fierce energy, appearing at events tied to Colombia’s peace process and receiving honors including the Latin Grammy Lifetime Achievement Award and France’s highest Order of Arts and Letters, the Chevalier des Arts et Lettres.

Her final public years coincided with a renewed appreciation among Colombians for their own musical roots — roots Totó had spent a lifetime defending.

In September 2022, she announced her retirement due to neurocognitive complications. Yet her songs endured as living memory: the voice of fishermen on the Magdalena, of Afro-Colombian drumming circles, of women singing beside the riverbanks of the Caribbean coast.

“The day that I cease to be nervous before going on stage, I will retire,” she once said. “Because at that point music will have become mechanical.”

For Totó La Momposina, music never became mechanical. It remained alive, ceremonial, ancestral — a fire carried across generations. And perhaps that is why the Queen of Sweden’s words still resonate today: Never stop singing.

A new national survey suggests Colombia’s 2026 presidential race is shaping into a high-stakes runoff between Iván Cepeda and conservative rival Paloma Valencia, with the first round on May 31 favoring the left-wing senator, but the second round  – on June 21 – projecting a narrow victory for the Centro Democratico candidate.

The latest poll by Fundación Génesis Crea places Cepeda at the top of voter intention for the first round with 35.1%, followed by Valencia with 25.4% and lawyer Abelardo de la Espriella with 21.6%, signaling an increasingly polarized contest just weeks before Colombians head to the polls.

The survey, conducted between May 4 and May 11 across 134 municipalities and 24 departmental capitals, interviewed 4,352 citizens and presents one of the most detailed snapshots yet of the country’s electoral mood ahead of what many analysts are calling the most decisive presidential vote in years.

Despite Cepeda’s strong lead in the opening round, the numbers suggest a dramatic reversal in a hypothetical runoff. In a second-round scenario against Valencia, the senator from the Democratic Center would secure 48.3% of the vote, compared to 45.6% for Cepeda, while blank votes would account for 6.1%.

The findings indicate that while Cepeda commands a consolidated progressive base, Valencia could benefit from a broader anti-government coalition in a runoff, uniting conservative, centrist and undecided voters wary of continuity with President Gustavo Petro’s political project.

Against other rivals, Cepeda performs more strongly. He would defeat De la Espriella with 46.5% to 41.4%, and also surpass former Bogotá mayor Claudia López with 47.2% to 40.2%, though blank voting would remain unusually high at around 12% in both matchups.

The poll also reflects the deep national divide over Petro’s presidency. Some 51.2% of respondents reported an unfavorable image of the president, while 44.6% viewed him positively. By contrast, former president Álvaro Uribe Vélez registered a 50.4% favorable rating, with 48.3% holding an unfavorable view.

These figures reinforce the enduring political influence of Uribe, whose legacy continues to shape right-wing mobilization, while Petro faces growing criticism over security concerns, economic uncertainty and the faltering progress of his “Total Peace” agenda.

Beyond the top three contenders, voter preference remains fragmented. López registers 3.6%, followed by Sergio Fajardo at 2.9%, while other names such as Roy Barreras, Mauricio Liscano and Carlos Caicedo remain below 1%.

Blank voting stands at 3.2%, while 5.4% of respondents said they remain undecided — a figure that could prove decisive in an increasingly volatile campaign season.

The study reports a margin of error of ±1.485% and a 95% confidence level, with data weighted according to official demographic indicators from the Dane and the National Civil Registry. The sample covered all major regions of Colombia, including the Caribbean, Pacific, Coffee Region, Llanos and Amazon basin.

With just two weeks before the first decisive round, the poll confirms that Colombia is heading toward an electoral confrontation defined less by ideological persuasion than by rejection: a battle between those seeking continuity with Petro’s leftist administration and those determined to stop it.

For now, Cepeda leads the first charge. But if the runoff materializes as projected, Paloma Valencia may be waiting at the finish line.

The Bogotá Short Film Festival – BOGOSHORTS – is strengthening its international footprint at the 79th Cannes Film Festival with a major presence at the Short Film Corner | Rendez-vous Industry, positioning Colombian and regional filmmakers before one of the world’s most influential film markets.

From May 13 to 24, this leading platforms for Latin America’s short films will present two curated collections of short films at Cannes while deepening industry ties through networking events, producer exchanges and strategic collaborations aimed at increasing international visibility for emerging Latin American talent.

The initiative marks the second consecutive year that the BOGOSHORTS universe has secured a prominent place within Cannes’ Cinema de Demain section, the festival’s platform dedicated to discovering the next generation of filmmakers.

This year, BOGOSHORTS will showcase 10 short films divided into two programs: BOGOSHORTS World Tour – Winners Colombia and BOGOSHORTS World Tour – Latin American Talents. The films will be available to accredited industry professionals through the Short Film Corner space within the Marché du Film and on Cinando, the industry networking platform used by festival programmers, producers, critics and institutional representatives.

The Colombian selection includes five award-winning films from the festival’s 23rd edition: Agachar el rostro, directed by Camilo Medina Noy; Un aparato para detectar fantasmas, by Mauricio Maldonado; Malas posturas, directed by Juan Pablo Castro; Mi viche todo el día, by Juan Camilo Moreno; and Luz de luna, directed by Claudia Alejandra Rivera Guarnizo.

The Latin American showcase brings together a new generation of filmmakers from across the region, including Uruguay’s stop-motion short Lodo, Mexico-Cuba co-production Cicatriz de fe, Mexican production Carne, Colombian short La ley de las acciones, and Chilean production Petra y el sol.

A delegation of 17 filmmakers and producers connected to these projects will attend Cannes in person, participating in a packed agenda of panels, workshops, masterclasses, project presentations and networking sessions.

For BOGOSHORTS founder and director Jaime E. Manrique, the presence at Cannes reflects a broader mission to ensure short films from Colombia and Latin America gain stronger access to international markets.

“Ensuring that Colombian and Latin American short film talent has a stronger presence and greater opportunities for international projection and connection is one of BOGOSHORTS’ core missions,” Manrique said in a statement.

“Thanks to the agreement with the Short Film Corner | Rendez-vous Industry at the Cannes Film Festival and the articulation with our film market, this goal is not only possible, but strengthened for the second consecutive year with the participation of a young Colombian producer in the New Producers Room.”

That producer is Melisa Zapata Montoya, who stands out as the only Latin American participant selected for the 2026 edition of the New Producers Room, a Cannes initiative that supports 10 promising short film producers from around the world.

Created in 2022, the New Producers Room is designed for producers who have already completed at least two short films and are seeking international co-production opportunities. The program combines online sessions with presentations in Cannes and facilitates meetings with potential collaborators, investors and creative partners.

Zapata, recognized for projects such as Menguante (2017), Paloquemao (2020) and the feature project Pétalos de sangre (2027), joins the group through BOGOSHORTS’ recommendation, reinforcing the festival’s role as a bridge between Colombian talent and the global industry.

As part of its collaboration with Cannes, BOGOSHORTS will also select one of the 10 New Producers Room participants to attend the next edition of the BFM — BOGOSHORTS Film Market in Bogotá this December.

The selected producer will receive a tailored industry agenda and enter the BFM incubator, designed to strengthen project development and long-term professional growth. Manrique will make the selection directly in Cannes after reviewing the participating projects.

The BFM, now preparing for its 10th edition, has become one of Colombia’s most important spaces for short film development and international co-production, serving as a platform for emerging filmmakers seeking access to wider distribution networks.

Beyond screenings and business meetings, BOGOSHORTS will host a reception on May 19 at Colombia’s national stand in Cannes with support from Proimágenes Colombia. The event will bring together Latin American filmmakers, producers and institutional allies as part of its strategy to consolidate international partnerships and present future global calls for participation.

The organization will also sponsor the closing cocktail of the New Producers Room, further increasing its visibility within Cannes’ professional circuit.

The Latin American talents collection was supported by Chile’s Cortos en Grande Festival and Uruguay’s Festival del Nuevo Cine – Detour, underscoring the regional collaboration behind the initiative.

For BOGOSHORTS, the growing presence at Cannes is part of a long-term internationalization strategy that extends beyond festival screenings.

It is an effort to position short film not as a stepping stone to feature filmmaking, but as a vital creative and industrial format in its own right – one capable of opening doors for a new generation of Latin American storytellers with many of the world’s leading industry professionals.

Under a mirage of glowing escalators inside Bogotá’s Ágora Convention Center, the catwalks of Bogotá Fashion Week opened Tuesday with more than fabrics and silhouettes on display. Behind the runway lights lies a larger ambition: to turn Colombia’s capital into a regional fashion export hub and bring designers from Bogotá’s workshops and popular commercial districts onto the global stage.

Now in its ninth edition, Bogotá Fashion Week (BFW), led by the Cámara de Comercio de Bogotá, has become the city’s main commercial and promotional platform for fashion, bringing together 145 brands, 28 runway shows, more than 80 international buyers and 755 business meetings aimed at strengthening Colombia’s presence in international markets.

For Ovidio Claros Polanco, president of the chamber, the event is no longer simply about showcasing collections, but about transforming fashion into a driver of economic growth and international competitiveness.

“In Bogotá, the fashion sector represents 33% of the city’s economic activity and brings together approximately 35,000 active companies, the majority of them microenterprises,” Claros said. He added that between 220,000 and 250,000 people are directly linked to the industry, with its impact extending into tourism, hotels, gastronomy and transportation.

The strategy, he said, is to move beyond the traditional notion of fashion as an exclusive industry and instead position it as an economic ecosystem capable of generating employment and export opportunities across all levels of the city.

That vision is particularly visible through [PUENTE] Internacional, a program created by the chamber to connect entrepreneurs from Bogotá’s traditional commercial districts such as San Victorino and Restrepo with major global fashion circuits including New York, Madrid, Dubai and Paris.

This year, eight Bogotá-based brands — Alanna, A Modo Mio, C’emadier, Más Cincuenta y Siete by Love Me Jeans, Lorant & Co, Lyenzo, Liza Herrera and Kernel Leather — were selected to present their autumn-winter collections during Fashion Designers of Latin America (FDLA) at New York Fashion Week in February.

The initiative marked one of the strongest international pushes yet for Bogotá’s so-called “popular fashion” sector, traditionally associated with local manufacturing districts rather than luxury runways.

“We are committed to the internationalization of Bogotá’s popular fashion because it is a powerful vehicle for economic growth and job creation,” Claros said. “We want the best of Bogotá’s design talent to arrive in the global capitals of fashion stepping forward with strength.”

The selection process involved curators and industry figures including Albania Rosario, founder of FDLA, José Forteza, former senior editor of Vogue México, Colombian designer Jorge Duque and stylist Estefanía Turbay.

For Albania Rosario, the initiative reflects the growing relevance of Latin American fashion beyond its domestic markets.

“Each of these brands represents not only the excellence of Bogotá’s design, but also the resilient and visionary spirit of our creative community,” Rosario said. “It is a reminder of the transformative power of Latin American fashion on the global stage.”

The international agenda continues well beyond Bogotá Fashion Week. Following the local runway events this week, [PUENTE] designers are scheduled to participate in Pasarela Madrid later in May, followed by Dubai Fashion Week in September, New York Fashion Week’s spring-summer season, and Paris Fashion Week later that month.

Inside Ágora, the business focus is equally visible. Alongside runway presentations from designers such as Kika Vargas, Francesca Miranda and Alejandro Crocker, the event hosts wholesale meetings between Colombian brands and international buyers seeking new suppliers and partnerships.

A multi-brand retail space open to the public and a series of 24 industry talks with more than 60 speakers also seek to bridge the gap between creative design and commercial scalability.

For organizers, integrating districts like San Victorino and Restrepo into this model is essential. Rather than separating emerging luxury labels from mass-market producers, the chamber is pushing for a unified ecosystem where independent designers, small workshops and large buyers operate within the same commercial conversation.

“There is a need to remove the idea that fashion belongs to only a few people,” Claros said. “This belongs to everyone. Countries change through actions like these.”

As Bogotá Fashion Week expands its global ambitions, the challenge will be whether Colombian brands can translate visibility into long-term exports and sustained international demand.

For now, however, the city is betting that fashion — from the ateliers of Chapinero to the workshops of San Victorino — can become one of Bogotá’s strongest international calling cards.

The departure of former Vice President Germán Vargas Lleras’s coffin from Bogotá’s Palacio de San Carlos on Monday morning blended state mourning with unmistakable political symbolism, as Colombia’s political elite gathered to bid farewell to one of the country’s most influential figures.

His daughter, Clemencia Vargas Umaña, attended the ceremony accompanied by her father’s two French bulldogs – Toño and Henry –  adding a deeply personal note to the solemn proceedings before the main funeral mass at 11:00 a.m. inside Bogotá’s Primatial Cathedral of Bogotá. The service marked the conclusion of three days in which the Foreign Ministry headquarters became the center of national political attention.

Vice President Francia Márquez represented the national government in the absence of President Gustavo Petro and delivered one of the most emotional moments of the day when she embraced Clemencia Vargas before the ceremony. Earlier, Márquez had publicly offered condolences to the family, praising Vargas Lleras’ democratic legacy and saying his “democratic work will be remembered.”

The wake drew figures from across Colombia’s political spectrum, reflecting Vargas Lleras’ decades-long influence. Former presidents Juan Manuel Santos, with whom Vargas Lleras served as vice president, Ernesto Samper, and Iván Duque were present, along with senator Paloma Valencia and former president Álvaro Uribe Vélez, whose attendance underscored the respect afforded to Vargas Lleras despite years of sharp public disputes between the two men.

Vargas Lleras died Friday in Bogotá after a prolonged battle with cancer. He was 64. His death ends a political career spanning more than three decades as senator, minister, vice president, and two-time presidential candidate.

Born in Bogotá on February 19, 1962, Vargas Lleras came from one of Colombia’s most prominent political dynasties. His grandfather, former President Carlos Lleras Restrepo, was a leading figure of the Liberal Party.

He built his own career as a city councilman, congressman, minister, and ultimately leader of the Cambio Radical party. His first presidential run came in 2010, where he finished third with nearly 1.5 million votes. Though unsuccessful, the campaign positioned him as a national force.

President Santos later appointed him to his cabinet, and in 2014 selected him as his running mate for reelection. The pair won in the runoff, and Vargas Lleras assumed office as vice president on August 7 that year.

He ran again for president in 2018 under the “Mejor Vargas Lleras” coalition, focusing on infrastructure, housing and administrative reform. He finished fourth in the first round and did not advance to the runoff.

Throughout his career, Vargas Lleras survived two assassination attempts and weathered political scandals, including accusations linked to parapolitics investigations, though he was never formally charged.

In later years, his health increasingly limited his public life. He was diagnosed with a benign meningioma in 2016 after a fainting episode, and in recent years battled cancer while largely stepping back from frontline politics.

Even as his public appearances became rare, his influence endured. Monday’s funeral made clear that, in death as in life, Germán Vargas Lleras remained a central figure in Colombia’s political history.

At Nohra Haime Gallery, in Manhattan’s white-walled Chelsea district, Cartagena-based artist Ruby Rumié is asking a deceptively simple question: How are the children?

It is not a casual greeting, nor the sentimental title of a new exhibition. Instead, it draws from the Maasai expression “Kasserian Ingera,” a phrase that measures the wellbeing of an entire community through the condition of its youngest members. If the children are well, the society is functioning; if they are not, everything else is called into question.

For Rumié, whose socially engaged practice has long examined dignity, memory and the politics of the body through installation and portrait photography, the question becomes the conceptual spine of her latest New York presentation. The exhibition, titled ¿How Are the Children?, marks a significant moment for the Cartagena-based artist, bringing her work once again into an international conversation that moves between Latin America, the Caribbean and the wider Global South.

Rather than beginning with a grand theoretical premise, the project emerged from something quieter: an old newspaper clipping documenting the disappearance of several children on a distant island. Nearly lost among family albums and forgotten papers, the fragment offered no resolution, only a trace. For Rumié, that absence became more powerful than explanation.

The result is an exhibition that does not attempt to solve a mystery but instead inhabits a state of unresolved concern. It asks viewers to remain with discomfort rather than consume a narrative neatly packaged for closure. In a cultural moment increasingly shaped by speed, certainty and spectacle, this refusal feels deliberate.

Within the work’s imagined structure, eleven children leave behind the violences of contemporary life: the pressure to perform, the normalization of fear, and the relentless demand to adapt to adult systems of productivity and control. Their destination is a volcano, a symbol that carries both danger and possibility.

Rumié anchors that image in a distinctly Colombian geography: the Totumo Mud Volcano, located between Cartagena and Barranquilla on Colombia’s Caribbean coast. Known locally as both a tourist curiosity and a place of ancestral ritual, the volcano is less about eruption than immersion. Visitors descend into a dense crater of warm mineral mud, confronting the instinctive fear of sinking—only to discover that the body floats.

This paradox sits at the heart of the exhibition and of Rumié’s photographic narratives.

Using portrait photography staged on the sandy slopes surrounding Totumo, she transforms her young subjects into something resembling living ceramics. Their bodies, coated in volcanic mud, appear sculptural and elemental – figures suspended between portrait and artifact, between childhood and myth. The mud gives them a tactile permanence, as though they have emerged from the earth itself rather than simply stood before the camera.

Here, mud is not scenic backdrop but primary material and metaphor. It is organic and mineral, medicinal and unsettling. It obscures the body while revealing something more essential beneath the surface. Covered in mud, distinctions of age, class, gender and origin begin to dissolve. The body ceases to be an object for display and returns to its simplest state: matter.

There is a quiet political force in that gesture. In a world saturated by images and increasingly hostile standards of beauty, the act of covering oneself in mud becomes a rejection of polished performance. It resists visibility as spectacle and proposes instead a form of symbolic density—one in which the body is not consumed but encountered.

The children in Rumié’s exhibition do not perform innocence. They do not dramatize suffering for the viewer’s emotional satisfaction. Instead, they surround the volcano with calm insistence, each holding a red ribbon that descends from its summit into their hands. The ribbon suggests connection rather than rescue, lineage rather than alarm. The volcano ceases to be a site of threat and becomes something closer to a shared origin: a matrix, a beginning.

That restraint is perhaps the work’s greatest strength. Rumié avoids the familiar traps of political art that over-explains its intentions or aestheticizes trauma into digestible symbolism. Instead, she builds an atmosphere of attention. The exhibition trusts silence. It asks not for interpretation alone, but for ethical presence.

This has been a defining feature of Rumié’s extensive projects. Her work often moves between installation, photography and social intervention, examining how communities remember violence and how institutions choose to see – or not – the vulnerable. Her native Cartagena, with its layered histories of colonialism, tourism and exclusion, remains both context and counterpoint.

Showing this work in New York adds another dimension. Chelsea galleries are not typically spaces associated with collective care or recetive to questions of social reparations. Yet that friction is productive. To pose “How are the children?” in the commercial heart of the international art market is to redirect attention from value to responsibility.

It is also a reminder that contemporary Latin American art is often at its most compelling when it resists exotic labels and insists on moral complexity instead. Rumié does not offer folklore, nor easy allegory. She offers a question as elusive as the landscape itself, echoing the vast and shifting terrains once depicted by the Prussian explorer Alexander von Humboldt during his travels across the continent.

And perhaps that is Rumié’s point. The exhibition offers no definitive answers, nor any final declaration of hope or despair. Instead, it leaves visitors carrying the weight of the original inquiry – returned intact, urgent and impossible to ignore, just like a volcano.

¿How Are the Children? opens on 7 May at Nohra Haime Gallery

Nohra Haime Gallery: 500A West 21st Street, New York.

Fabio Enrique Ochoa Vasco, a former insider of the defunct Medellín Cartel, and once accused by Pablo Escobar of betrayal and marked for death, has quietly returned to Colombia after serving a prison sentence in the United States, drawing renewed attention to the discreet return of aging narcotics operatives to the country.

Ochoa Vasco, known among the cartel’s henchmen as “Kiko Pobre” or “Carlos Mario,” returned to Medellín roughly two and a half months ago after completing a nine-year prison term in the United States for drug trafficking and money laundering, according to judicial sources.

Now 65, he is reportedly living in the Antioquia capital under a low profile, far from the notoriety that once surrounded his role inside the world’s most violent cocaine empire.

His return also reflects a broader trend in Colombia, where former cartel figures, paramilitary commanders and extradited traffickers are quietly re-entering civilian life after serving lengthy prison terms abroad, often without pending criminal cases at home.

Ochoa Vasco was part of the Medellín Cartel faction led by Fernando Galeano and Gerardo Moncada, two of Escobar’s most powerful associates who controlled major cocaine routes from the municipality of Itagüí.

Known respectively as “El Negro” and “Kiko,” Galeano and Moncada were once among Escobar’s closest allies, but their relationship collapsed in 1992 when Escobar accused them of hiding millions of dollars from him while he was serving his negotiated prison sentence inside La Catedral, the luxury prison he built for himself in Envigado.

Both men were tortured and murdered inside the prison on Escobar’s orders, triggering one of the most violent internal purges in the cartel’s history.

Ochoa Vasco, who had worked closely with their network, was forced into hiding as Escobar reportedly branded him a traitor and sought to have him killed.

He later aligned himself with Los Pepes — the vigilante alliance of Escobar’s most feared enemies and whose acronymn stood for “Persecuted by Pablo Escobar”.  Escobar’s relentless campaign of car bombings and assassinations contributed to the cartel boss’s downfall before he was killed by Colombian security forces in Medellín on December 3, 1993.

But the end of Escobar did not signal the end of Ochoa Vasco’s criminal career.

According to the U.S. Department of State, he had been involved in international narcotics trafficking since the early 1980s and was allegedly responsible for sending between six and eight tons of cocaine per month from Colombia to the United States.

U.S. authorities described him as the head of a drug trafficking organization that moved multi-ton shipments of cocaine by speedboats and cargo ships from Colombia to Central America for eventual distribution in the United States.

Investigators also linked him to the now-demobilized United Self-Defense Forces of Colombia, or AUC, the right-wing paramilitary organization founded by cattle ranchers in the middle Magdalena River valley, and under command of Carlos and Fidel Castaño.

In September 2004, prosecutors in the Middle District of Florida indicted Ochoa Vasco on charges of narcotics trafficking and money laundering. He also had a previous narcotics conviction in the United States and remained a fugitive on an earlier 1989 indictment from the Southern District of Florida.

He was captured in Venezuela in 2009 and extradited to the United States, where he was sentenced to nine years in prison.

With that sentence completed and no active judicial proceedings pending in Colombia, Ochoa Vasco was been able to return to Medellín without major public attention.

His case mirrors that of other former Medellín Cartel figures who have returned after decades in U.S. prisons.

Fabio Ochoa Vásquez, the youngest member of the powerful Ochoa family and one of the cartel’s best-known figures, returned to Colombia in December 2024 after serving nearly 30 years behind bars in the United States.

Now 69, he reportedly lives in Antioquia and has resumed the family’s long-standing horse breeding business.

Carlos Enrique Lehder Rivas, one of the cartel’s most eccentric members and who oversaw Pablo’s Caribbean cocaine routes, also returned to Colombia in March 2025 after serving 33 years in U.S. custody.

At 75, Lehder now moves between Bogotá and Medellín after all Colombian charges against him were closed.

One of the earliest and most infamous examples was Griselda Blanco, the so-called “Black Widow,” widely considered a pioneer of cocaine trafficking into Florida and New York during the 1970s.

After serving roughly 20 years of a U.S. sentence, she was deported to Medellín in 2004 and lived quietly there until she was shot dead by motorcycle gunmen outside a butcher shop in 2012.

The return of these figures underscores the long afterlife of Colombia’s drug wars.

Many of the men and women once at the center of cartel violence are now elderly, legally free, and living once again in the same cities where their criminal empires flourished.

For many Colombians, their quiet reintegration raises uncomfortable questions about justice, memory and how a country still marked by the legacy of narcotics violence confronts the survivors of that era.

At a time when children are increasingly indoors – absorbed by screens, separated from the street and distanced from the spontaneous rituals of neighborhood play – a new exhibition by the Banco de la República has launched at the Museo de Arte Miguel Urrutia (MAMU), and one that asks a deceptively simple question: what happened to playing outside with friends?

Having opened on April 23 at El Parqueadero and second floor of MAMU, Francis Alÿs, juegxs de niñxs 1999–2025 brings together 27 video works from the Belgian-born, Mexico-based artist’s celebrated long-running series documenting children’s games across the world.

Curated by Cuauhtémoc Medina and Virginia Roy, the exhibition proposes something more than nostalgia. It invites viewers to see play as a form of social architecture – a place where children create rules, resolve disputes and build entire worlds from whatever their environment offers.

Games, the curators suggest, are “social laboratories in miniature.”

For more than two decades, Francis Alÿs has traveled across cities, villages and conflict zones filming children at play. What began in 1999 evolved into an audiovisual archive spanning more than 50 short films across five continents, 27 of which are included in the Bogotá exhibition.

Children jump across hopscotch grids in Afghanistan, toss bones in India, spin tops in Mexico and invent rhythmic contests in narrow urban streets. One of the featured Colombian works, Trompos de semilla, Arara, Colombia, 2025, was filmed in the Amazon with support from Banco de la República’s Cultural Center in Leticia, capturing children in the Arara community playing with spinning tops made from seeds.

The games are simple, but the implications are not.

On the screen there are adults directing the action, no digital interfaces, no organized sports structures. Instead, children improvise with what is at hand – sticks, stones, crates, seeds, chalk, bottle caps – creating systems of cooperation and competition, rules and rebellion.

That act of invention lies at the center of Alÿs’s fascination.

Born in Belgium in 1959, Alÿs grew up with the image of Children’s Games (1560), the iconic painting by Pieter Bruegel the Elder depicting hundreds of children absorbed in play across a town square. According to the exhibition guide, the work became a lifelong reference point—an early visual map of how play reveals the structure of society itself.

Alÿs studied architecture at the Istituto Universitario di Architettura di Venezia before moving to Mexico in 1986 as part of an aid project to help install aqueducts in Oaxaca. He later settled in Mexico City’s historic center, where he developed the poetic and political language that would define his career.

His practice – spanning video, painting, installation and performance – often addresses borders, migration, urban fragility and the absurd mechanics of social order. Power dynamics, the commercialization of public space and the erosion of civic community remain central artistic preoccupations.

In Juegxs de niñxs those themes emerge quietly but powerfully.

Alÿs is not merely documenting childhood. He is observing how public life functions – and how children, often without adult mediation, rehearse the structures of society through play.

The exhibition reveals how games create temporary communities. They teach negotiation, competition, fairness and exclusion. They reflect both freedom and hierarchy. In some videos, the children play in ordinary neighborhoods filled with laughter and routine. In others, games unfold beside military checkpoints or in areas shaped by poverty, displacement and war.

Play persists, but never outside history.

The multi-screen installation at MAMU emphasizes these contrasts, showing both the universality of childhood and the inequalities that define it. Similar games appear across radically different geographies, suggesting what the curators describe as a kind of underground cosmopolitan culture of childhood – one that challenges the rigid identities of the adult world.

At the same time, the exhibition reflects on disappearance.

Traditional street games, some with roots stretching back to ancient Mesopotamia, are becoming less visible. Urban traffic has overtaken streets once used as playgrounds. Safety concerns have limited unsupervised outdoor play. Screens and digital entertainment increasingly dominate leisure time. Public space itself has become more regulated, commercialized and less available for improvisation.

Alÿs’s work does not romanticize the past, but it does capture transient moments of celebration.

What looks ordinary today – a spinning top, a hopscotch square, a game played with stones – may one day become a contemporary hieroglyph, evidence of how communities once formed themselves in public space.

As curator Cuauhtémoc Medina notes, games are not eternal. Their disappearance may signal something larger about the transformation of humanity itself.

If all the world’s a street, Alÿs has chosen not to place these collaborative works on the market, underscoring their documentary and communal nature. For the multi-medium storyteller, games, like art, are not commodities, but shared records of our collective experience.

This Bogotá presentation marks the exhibition’s fifth international stop following showings in Mexico City, Antwerp, Guadalajara and Santiago de Chile. In 2024, Alÿs also presented the project at the Barbican Art Gallery under the title Ricochets, marking the first time his work was shown in the United Kingdom.

At MAMU, the museum becomes more than a gallery – it becomes a space to reconsider childhood, the city and the fragile public spaces where both are formed.

Museo de Arte Miguel Urrutia. Calle 11 No.4-21.

Admission is Free.

The United States has updated a “do not travel” warning for large parts of southwestern Colombia after a wave of terrorist attacks have left over 20 people dead, underscoring growing international concern over the country’s deteriorating security situation and prompting regional authorities to demand stronger support from the leftist government of President Gustavo Petro.

The U.S. Department of State maintained most of Colombia at Level 3 – “Reconsider Travel” – citing crime, terrorism, civil unrest, kidnapping and natural disasters, but reinforced its Level 4 advisory for several conflict-hit regions, including the departments of Arauca, Cauca, Valle del Cauca and Norte de Santander.

Under the latest guidance, Americans are advised not to travel to Cauca, excluding the departmental capital Popayán, and Valle del Cauca, excluding Cali, due to crime and terrorism.

Norte de Santander and Arauca remain under the same highest warning level, while travel within 10 kilometers of the Colombia-Venezuela border is also strongly discouraged because of kidnapping risks, armed conflict and the possibility of detention.

“Do not travel to these areas for any reason,” the State Department said in its advisory, adding that violent crime, armed robbery and murder remain common, while terrorist groups continue to operate in remote and rural zones.

The warning was reinforced by a U.S. Embassy security alert issued in Bogotá on April 27, following 26 separate attacks across southwestern Colombia during the weekend of April 25. The attacks targeted transportation corridors, military installations and police stations, with authorities confirming at least 20 deaths and dozens of injuries.

Police and military facilities are frequent targets of armed groups, and the State Department warned that attacks in Colombia have included car bombs, grenades, truck bombs, explosive devices placed on roads and buildings, and even drones carrying explosives.

Illegal armed groups, including dissident factions of the former Revolutionary Armed Forces of Colombia (FARC), narcotrafficking organizations and other insurgent groups, have expanded their territorial presence in recent years, particularly in remote areas where coca cultivation, illegal mining and strategic trafficking corridors overlap.

The deadliest recent attack occurred near the El Túnel sector in Cajibío, Cauca, along the Pan-American Highway, where an explosive device detonated against civilian vehicles, killing 20 civilians and injuring over 50 more. Authorities attributed the bombing to FARC dissidents under command of alias “Iván Mordisco”.

The attack shocked the country and intensified criticism of President Gustavo Petro’s “Total Peace” policy, which seeks negotiated settlements with illegal armed groups but has faced mounting scrutiny as violence worsens in several regions.

In response, the Cauca governor’s office declared three days of official mourning. Authorities described the bombing as an “atrocious and unjustifiable” act and ordered flags to be flown at half-mast across public institutions and schools as a tribute to the victims.
The government also called for national unity and a stronger institutional response to confront armed violence in one of Colombia’s most volatile departments.

In neighboring Valle del Cauca, Governor Dilian Francisca Toro said she respected the U.S. warning but urged foreign governments and the media not to define the entire region by recent attacks.
“We ask that our region not be stigmatized,” Toro said, insisting that Valle del Cauca remains open to visitors and that violence does not represent the department’s cultural, economic and social identity.
At the same time, she sharply criticized the national government’s security response after attacks in Cali and Palmira, calling for “real, sustained and effective support” through more troops, stronger intelligence operations and direct action against criminal structures operating in the region.

Following an explosion near the Agustín Codazzi Engineers Battalion in Palmira, Toro announced an investment of nearly 70 billion pesos ($17 million) to strengthen police communications infrastructure, expand surveillance camera networks and improve secure transport corridors across municipalities.

In Cali, Mayor Alejandro Eder said an attempted attack against the Pichincha Battalion involved explosive gas cylinders, one of which failed to detonate while another exploded inside a minibus.

Authorities activated a citywide security operation and Eder offered a reward of up to 50 million pesos for information leading to the capture of those responsible. “We cannot allow terrorism to regain ground in our city,” Eder said.

Colombian President Gustavo Petro will meet Venezuela’s interim leader Delcy Rodríguez in Caracas on Friday to address security challenges along the shared border, marking their first official encounter since Nicolás Maduro was captured by U.S special forces on January 3, 2026.

The meeting, to be held at the Miraflores presidential palace, is expected to center on coordination between the two countries to tackle armed groups, drug trafficking and other cross-border threats that have long destabilized frontier regions.

Colombia’s presidency said the talks aim to “strengthen bilateral cooperation, territorial control and coordination on security matters,” following the cancellation of a previous meeting scheduled for March 13 at the border due to security concerns cited by Caracas.

Friday’s talks come after Rodríguez assumed power earlier this year following the capture of former Venezuelan dictator Nicolás Maduro during Operation Absolute Resolve.

Petro is expected to travel to Caracas after holding meetings earlier in Bogotá. The leaders will first hold a private discussion to outline joint actions addressing border instability, followed by a broader metting between their respective delegations aimed at formalizing institutional commitments.

Officials from both countries are also expected to sign the final act of the III Commission on Neighborhood and Integration, with foreign ministers participating, before delivering statements to the media.

The Colombia–Venezuela border stretches more than 2,200 kilometers (1,367 miles) from the Caribbean coast to the Amazon basin and has long been a hotspot for illegal activity, including the presence of the National Liberation Army (ELN) guerrilla, as well as drug trafficking and smuggling networks.

Petro said earlier this week that the talks would place particular emphasis on the Catatumbo region, one of the most volatile areas along the frontier, where violence linked to armed groups and illicit economies has intensified.

“If we go, Catatumbo is a key issue to discuss with President Delcy,” Petro said during a cabinet meeting on April 21, adding that his delegation would include military and police officials to coordinate security strategies.

He said the goal is to develop a joint security plan, improve coordination between the two countries’ armed forces and police, and deepen intelligence-sharing, warning that a lack of cooperation could lead to operations that harm civilian populations.

The meeting also comes against the backdrop of a rebound in bilateral trade between the two countries following years of strained relations.

Trade flows have increased significantly in recent years, rising from around US$200 million three years ago to more than $1 billion, representing an increase of roughly 600%, according to official figures.

Colombia recorded a trade surplus of US$1 billion with Venezuela in 2025, underscoring the economic incentives for both governments to maintain stable ties despite ongoing political uncertainties.

Petro first announced the trip last week during an interview in Spain, referencing the earlier failed meeting and signaling his willingness to travel to Caracas to advance talks.

The visit marks a key test of Colombia’s role in engaging with Venezuela’s transitional leadership, as both countries seek to stabilize their shared border while cautiously rebuilding diplomatic and economic relations in the post-Maduro era.

Bogotá’s mayor has called for a major expansion of the city’s police force following a deadly knife attack on a television production set and a separate killing at a public transport station, as authorities warn of shifting patterns of urban crime in Colombia’s capital.

Carlos Fernando Galán said the city requires at least 8,000 additional police officers to effectively confront rising insecurity, after convening an extraordinary security council on Monday with senior officials from law enforcement, the military and prosecutors.

The move follows a shocking outbreak of violence on April 18 during the filming of the television series Sin senos sí hay paraíso in the central Santa Fe locality — an incident that left three people dead and several others injured.

“This is an extremely serious and senseless act of violence that hurts all of Bogotá,” Galán said, expressing solidarity with the victims’ families and the country’s audiovisual sector. “To respond effectively, we must strengthen the police, improve investigations, expand technological capabilities and increase personnel.”

The attack unfolded at approximately 3:30 p.m. in the Los Laches neighborhood, near the eastern edge of Parque Nacional, where a production crew had been filming in a public street close to the Instituto Roosevelt.

According to preliminary findings, a man not affiliated with the production approached the set and, without any prior interaction, attacked a crew member with a sharp weapon.

The sudden assault triggered panic and a rapid escalation of violence. Witnesses said several people at the scene intervened in an attempt to stop the attacker, leading to a chaotic street fight in which multiple individuals were stabbed.

In the ensuing struggle, the assailant managed to inflict severe injuries on several people before being subdued. Three individuals — including the attacker and two members of the production team — were transported to Hospital La Samaritana, where they later died from their wounds.

A fourth person injured in the confrontation was taken to Hospital Universitario San Ignacio. Authorities have not released further details regarding that individual’s condition.

The victims from the audiovisual team were identified as Henry Alberto Benavides Cárdenas, 45, and Nicolás Francisco Perdomo Corrales, 18.

Officials have stressed that the attack does not appear to be linked to robbery or organized crime. Instead, investigators are examining the background of the alleged assailant, who had previously been reported for threats and is believed to have a history of mental health issues — factors now under review by judicial and medical authorities.

The case has rattled Colombia’s cultural sector, which have grown steadily in recent years as Bogotá has positioned itself as a regional hub for film and television production. For many in the sector, the attack represents a deeply unsettling breach of safety for the industry.

Monday’s security meeting also addressed a separate killing that occurred in the city’s public transport system. A 19-year-old man, identified as Freddy Santiago Guzmán, died after being attacked during a robbery at the Minuto de Dios TransMilenio station.

Galán said the two incidents, while distinct, highlight the need for a more robust and coordinated security strategy across the capital. He called on the national government to provide greater support in terms of funding, personnel and institutional backing.

“We will not step back in the fight against crime,” he said. “But Bogotá cannot face this challenge alone.”

Security Secretary César Restrepo warned of what he described as a structural weakness in controlling the circulation of weapons, particularly knives and other bladed instruments.

“More than 10,000 bladed weapons have been seized so far this year,” Restrepo said, adding that the continued flow of such weapons into the city remains a critical concern for authorities.

Officials also pointed to evolving criminal dynamics that are complicating law enforcement efforts. Galán described the emergence of more fluid and decentralized forms of criminal activity, in which individuals come together temporarily to commit specific acts before dispersing.

“We are seeing a kind of ‘freelance’ crime,” he said. “This creates new challenges for intelligence work and policing.”

The extraordinary security council brought together representatives from the police, the army’s 13th Brigade of the Colombian Army and the Fiscalía General de la Nación, as authorities seek to strengthen coordination in response to recent violence.

Police commander Giovanni Cristancho Zambrano said officers had recovered eight stolen vehicles in the past week and urged citizens to report suspicious behaviour, particularly involving occupants of private vehicles, to support preventive action.

The rash of incidents during one weekend in the capital have sharpened concerns over public safety, especially in central districts where commercial, residential and cultural life converge in densely populated areas.

For the city’s growing audiovisual sector, the killings have raised urgent questions about security protocols for productions operating in open urban environments. Messages of mourning circulated widely among industry professionals, reflecting both grief and frustration over the circumstances surrounding the attack.

While city authorities have pledged to reinforce measures across key areas, Galán’s call for thousands more officers reveals the scale of Bogotá’s security needs as it grapples with entrenched crime from micro-trafficking groups and rapidly evolving new forms of urban violence.

Investigations into both incidents remain ongoing, with authorities working to establish the full sequence of events and any underlying factors that may have contributed to the attacks.

A Qatar Airways cargo jet and a Lufthansa passenger plane came within an estimated 200 meters of each other on final approach to Bogotá on Sunday evening, in a near miss that could have resulted in a major airline catastrophe.

The incident unfolded near El Dorado International Airport as both aircraft were being guided toward runway 32L during a late-evening arrival window. According to preliminary information, Qatar Airways cargo flight QTR 8174, operated by a Boeing 777 from São Paulo, was descending to approximately 9,600 feet when it converged with Lufthansa flight DLH 542.

The Lufthansa flight from Frankfurt Airport, operated by a Boeing 787 -900 ‘Dreamliner’ carrying some 270 passengers, had departed at 3:08 p.m. local time and was scheduled to land in Bogotá at 11:51 p.m. local time. As it approached the Colombian capital, the aircraft turning at roughly 9,700 feet, placing it on a dangerously converging path with the Qatar Airways freighter.

The two wide-body aircraft, each spanning more than 60 metres in length, were both landing from the East, and were above the residential neighbourhood of Modelia, according to late-night eyewitness reports.

Under standard air traffic control procedures, aircraft must maintain a minimum vertical separation of 1,000 feet, 0r 300 metres. The apparent compression of that buffer to an estimated 600 feet suggests a significant breakdown in sequencing or communication during the critical end-phase of a flight.

Disaster was averted when the Lufthansa aircraft abruptly climbed to over 12,000 feet, executing what appears to have been an emergency “Go-Around” avoidance manoeuvre. Such actions are typically triggered by onboard collision avoidance systems, which issue automated instructions to pilots when another aircraft is detected at dangerously close range. The manoeuvre forced the passenger flight to abort its initial landing approach before safely completing a second descent into Bogotá. No injuries were reported.

However, the near miss has renewed scrutiny over air traffic control operations in the Colombian capital, following another serious safety incident just two months earlier.

On February 20, a LATAM Airlines flight operated by an Airbus A320 carrying 157 passengers was forced to abort take-off after a military helicopter appeared unexpectedly near the runway at El Dorado International Airport.

According to Colombia’s civil aviation authority, Aerocivil, the aircraft—bound for San Andrés—had been cleared for departure after routine taxi procedures. At 17:04 local time, the plane was authorized for pushback from position C5, and by 17:13 it had been instructed to taxi toward runway 14R.

At 17:36, after receiving clearance for take-off, the crew initiated the departure roll. Moments later, pilots detected a rotary-wing aircraft flying on a parallel trajectory and approaching the runway environment. The unexpected presence of the helicopter forced the crew to execute an aborted take-off, a high-risk manoeuvre at speed, in order to avoid a potential collision.

Aerocivil attributed the incident to interference in the communication frequency of the airport’s north control tower, raising concerns about coordination between different air traffic control sectors. The episode, involving a commercial jet accelerating for departure and an unauthorized or mis-coordinated helicopter movement, has been classified as a serious operational safety event.

Together, the two incidents have cast a spotlight on the operational pressures facing El Dorado International Airport (SKBO), which handles hundreds of daily movements and serves as one of the busiest aviation hubs in Latin America. Bogotá’s high-altitude location—more than 2,600 metres above sea level—combined with surrounding mountainous terrain, requires tightly managed flight paths and precise coordination between controllers and pilots.

Sunday’s late evening incident involving two long-range aircraft is expected to undergo a detailed investigation, including analysis of radar data, cockpit voice recordings and air traffic communications.

On Monday, Colombia’s Aerocivil, affirmed that the event did not constitute a critical safety risk. In an official statement, the authority said runway 32 Right had been temporarily unavailable due to a third aircraft blocking the strip, prompting controllers to redirect incoming traffic—including the Qatar Airways and Lufthansa flights—to runway 32 Left.

Aerocivil said the change in instructions led to a reduction in speed that decreased horizontal separation between the two aircraft during the approach phase. However, it stressed that “controlled and safe vertical separation was maintained at all times.”

According to Aerocivil , the Lufthansa crew’s decision to abort the landing was carried out “independently” and in line with standard global aviation protocols. “This is a normal and standardised procedure in aviation, designed precisely to guarantee safety when visual or distance parameters so require,” the statement said.

The technical analysis, Aerocivil added, confirms that the situation was “an operational event managed under control” and “at no time represented a critical situation or a real risk to air safety for passengers or crew.”

The authority also urged the public and political actors not to “exaggerate or politicise” what it described as a strictly technical matter, warning that reliance on unofficial sources could generate unfounded alarm and affect confidence in Colombia’s aviation sector.

ARTBO Weekend returns to Bogotá this week with a milestone worth noting – and a programme that suggests the event is no longer content with staying within its traditional comfort zones.

Celebrating its tenth edition from April 16 to 19, the city-wide initiative organized by the Bogotá Chamber of Commerce (CCB) arrives bigger, more dispersed and arguably more ambitious than ever. With over 160 free activities, 86 participating spaces and 280 artists from 27 countries, the numbers alone tell a story of steady expansion. But the real shift this year is geographic.

For the first time, ARTBO Weekend – Fin de Semana – pushes decisively into new territory. The addition of Kennedy, Nogal and Chicó as official circuits marks a deliberate move away from the event’s familiar enclaves. It is, in many ways, a statement about where Bogotá’s art scene is headed – or where it wants to go.

Kennedy stands out. Historically on the fringes of the city’s cultural programming, the district’s inclusion is more than symbolic. The reopening of the Chamber of Commerce’s exhibition space in the area signals a longer-term investment in decentralising Bogotá’s art ecosystem. It also raises a question that has hovered over ARTBO Weekend in recent years: who, exactly, is the event for?

For organisers, the answer has consistently been “everyone.” And, on paper, that commitment holds. Entry remains free across all venues, and the programme spans everything from gallery exhibitions and museum shows to performances, workshops, talks and editorial launches. The addition of complimentary transport routes – the Bus ARTBO – helps bridge the distances between circuits, turning what could be a logistical challenge into something closer to an urban stroll.

Still, navigating ARTBO Weekend requires a degree of planning. Bogotá is not compact, and its art circuits are spread across distinct neighbourhoods, each with its own pace and character. San Felipe, long considered the epicentre of the contemporary gallery scene, remains a reliable starting point, particularly for first-time visitors. Chapinero offers a more eclectic mix, where independent spaces sit alongside institutional venues, while the Centro Histórico provides a slower, more contemplative route through museums and heritage sites.

This year, however, the draw may well lie in the unfamiliar. Kennedy’s circuit promises a different rhythm – less polished, perhaps, but more reflective of the city’s broader social fabric. Chicó and Nogal, by contrast, introduce a more polished, design-forward dimension to the programme, expanding the conversation beyond traditional gallery spaces.

What distinguishes ARTBO Weekend from its larger counterpart, ARTBO, is precisely this sense of movement. There are no booths, no central venue, no singular point of focus. Instead, the city itself becomes the exhibition space, and the act of moving between circuits becomes part of the experience.

That experience is not purely visual. The “Conversaciones” series, curated by Raphael Fonseca of the Denver Art Museum, brings together artists, curators and academics for a series of panel discussions that aim to unpack the themes shaping contemporary art today. With free entry and simultaneous translation, the talks offer a point of entry for audiences looking to engage more deeply with the works on display.

Equally, the Encuentro Editorial continues to carve out a niche within the programme. Focused on independent publishing and the book as an artistic medium, it provides a quieter counterpoint to the busier exhibition circuits. For many, it is here – among the artist books and experimental print projects – that the creative pulse is most tangible.

After a decade, ARTBO Weekend has settled into a rhythm that feels both established and open-ended. It has succeeded in building audiences, supporting local galleries and positioning Bogotá within a wider Latin American art conversation. At the same time, it continues to grapple with the challenges of scale, access and representation that come with growth.

For visitors, the best approach may be to resist the urge to see everything. Pick two or three circuits per day. Use the Bus ARTBO, but don’t be afraid to walk, and take an umbrella for the inclement April weather. Allow time for the unexpected – a performance that spills into the street, a conversation that runs longer than planned, a small space that wasn’t on the map.

Because if ARTBO Weekend has proven anything over the past ten years, it is that Bogotá’s art scene is not confined to a single district, or a single idea of what art should be. It is scattered, evolving and, at its best, deeply connected to the city.

Colombia will cull dozens of invasive hippopotamuses descended from animals illegally imported by Pablo Escobar, as authorities warn the rapidly growing population is endangering ecosystems and local communities.

Environment Minister Irene Vélez Torres said the government has authorized the euthanasia of up to 80 animals as part of a broader strategy to control the herd, which now numbers around 200 across the Magdalena River basin.

“We must act to reduce the hippopotamus population,” Vélez said, describing the cull as a “technical recommendation” following years of failed attempts to contain the species through sterilization and relocation.

The hippos — descendants of four animals brought to Colombia in the 1980s for Escobar’s private zoo at Hacienda Nápoles — have flourished in the country’s tropical lowlands, where a lack of natural predators and abundant water sources have enabled unchecked reproduction.

Scientists warn that without intervention, the population could surge to between 500 and 1,000 animals within the next decade, placing increasing strain on fragile river ecosystems.

The large herbivores consume vast quantities of vegetation and deposit significant organic waste into waterways, altering water chemistry and threatening native species, including manatees and turtles. Officials also cite rising risks to rural communities, with reports of hippos damaging farmland and attacking livestock and people.

The government’s plan, backed by a 2022 technical report from the Humboldt Institute and the National University, includes euthanasia, confinement and possible relocation. The program carries a budget of 7.2 billion pesos and is set to begin in the second half of 2026, targeting key hotspots near Puerto Triunfo and along the Magdalena River.

Previous efforts to manage the population — including sterilization campaigns in 2022 and 2023 and talks with countries such as India and Mexico to relocate animals — yielded limited results. Authorities say international transfers are unlikely, citing logistical challenges and genetic concerns linked to inbreeding.

Animal welfare advocates have condemned the cull. Senator Andrea Padilla, an outspoken animal rights campaigner, described the plan as “cruel” and accused the government of opting for the “easy way out.”

“Killings and massacres will never be acceptable,” Padilla wrote on social media, arguing the animals are victims of decades of state neglect.

But officials insist the risks posed by the species — considered among the world’s most dangerous large mammals — leave little alternative. In Africa, hippos are responsible for hundreds of human deaths each year, and Colombian authorities report increasing “hippo-human interactions,” including road accidents and attacks along riverbanks.

Escobar, who built his sprawling Napoles estate was killed in 1993, but the legacy of his private zoo has endured in unexpected ways. After his death, some animals were relocated, while others — including the hippos — escaped into the swamps.

Decades later, what began as a curiosity has become one of Colombia’s most unusual environmental dilemmas, forcing authorities to weigh animal welfare against the protection of native ecosystems.

In the gilded stillness of one of Bogotá’s most striking colonial spaces, a new exhibition is quietly unsettling centuries-old certainties. Entonces llamó a un arcángel, the latest show by Colombian artist David Felipe Escobar, opens this week at the Museo Santa Clara, inviting visitors into a dialogue between baroque religious iconography and contemporary queer identities.

The exhibition, which opens on April 9 and runs until June 28, unfolds within the former church of the Real Convento de Santa Clara, a desacralised 17th-century site renowned for its lavish altar pieces and paintings of angels and archangels. Rather than treating these works as static relics, Escobar reactivates them—drawing them into conversation with bodies and identities historically excluded from the narratives they once upheld.

Taking its title from a verse by Saint John of the Cross, the exhibition imagines a meeting point between celestial beings and “queer, disobedient bodies” that exist beyond traditional gender norms. The result is not a confrontation with religious imagery, but a reframing of it—one that suggests ambiguity and fluidity were always present within baroque visual culture.

Indeed, Escobar’s premise rests on a subtle but powerful observation: that angels, often depicted as androgynous figures suspended between heaven and earth, already occupy a space of indeterminacy. By foregrounding this ambiguity, the exhibition reveals latent connections between colonial representations and contemporary non-binary identities, without imposing anachronistic readings onto the past.

The show is organised into two thematic sections. The first, centred on fluid identities in dislocated spaces, physically reshapes the museum environment. Selected paintings of archangels are removed from their traditional placements, disrupting long-standing visual hierarchies within the former temple. This curatorial gesture invites a more intimate engagement with the works, while questioning notions of permanence—both in museography and in gender constructs.

The second section, Una nueva Iglesia, shifts from disruption to speculation. Here, Escobar assembles apocryphal figures alongside materials such as chains and silks, constructing a symbolic space where alternative forms of belief can coexist. It is an imagined sacred realm—one that embraces multiplicity and offers refuge to identities historically marginalised by institutional religion.

Together, these interventions transform the Museo Santa Clara into a site of active reinterpretation. The building itself, once a place of rigid spiritual authority, becomes a stage for reconsidering how the sacred has been represented, contested and lived. In this sense, the exhibition does not position itself in opposition to religion, but rather proposes a space of encounter—where past and present converge to open new possibilities for understanding spirituality.

Born in Bogotá in 1992, Escobar’s practice spans visual art and writing, often exploring the intersections of violence, desire and the divine. A graduate of Parsons School of Design and Hunter College, he has participated in international residencies across Latin America. His literary work includes the novel Soap Bubble (2024) and the poetry collection 7 Iridescent Prayers (2026), further extending his exploration of spiritual and corporeal themes.

As Bogotá’s cultural calendar continues to foreground conversations around memory, identity and inclusion, Entonces llamó a un arcángel stands out for its quiet radicalism—suggesting that even within the most traditional of spaces, new meanings can still emerge.

The exhibition runs from April 9 to June 28, 2026, Tuesday to Sunday, 9:00 a.m. to 4:30 p.m., with a programme of guided tours, workshops and public discussions designed to deepen reflection on the relationships between body, spirituality and diversity. Admission is free.

The stunt began, as so many do in the age of viral fame, driven by the need to provoke a reaction.

At 35,000 feet above the Atlantic, inside the sealed cabin of an Avianca B-787 ‘Dreamliner’ en route from Bogotá to Madrid, passengers aboard flight AV46 were unwitting participants in a reckless influencer incident involving a “stink bomb”. At the center of it: Yeferson Cossio, a content creator whose appetite for shock value appears to have outpaced even the most basic understanding of context.

The incident occurred on March 11, 2026, during the long-haul crossing between Colombia and Spain – a route that typically lasts close to 10 hours and operates far from diversion airports for much of its duration. According to Avianca, Cossio activated “an odor-generating chemical device” mid-flight, releasing a strong, foul smell inside the cabin. Several passengers reportedly complained of discomfort, while others grew concerned about the nature of the substance.

What may have been conceived as a prank for social media rapidly escalated into a situation requiring intervention from the cabin crew, who followed established safety protocols for unknown substances in flight. In aviation, any unexplained odor – particularly one described as chemical – can trigger alarm, given the potential risks ranging from toxic exposure to onboard system malfunctions.

There is a particular kind of arrogance required to mistake a transatlantic flight for a social media stage.

Aircraft cabins are not neutral spaces. They are tightly controlled environments governed by strict international safety regulations, with air continuously recirculated through pressurization systems. Introducing any foreign substance – no matter how trivial its intent – can compromise not only passenger comfort but also operational safety.

Avianca’s response was swift and unequivocal. In an official statement, the airline confirmed it had terminated Cossio’s contract of carriage upon arrival and canceled his return ticket, citing “disruptive behavior” that affected “security, order, discipline, and sanitation” on board. The company also announced it would pursue legal action.

The airline went further, emphasizing the context: the aircraft was flying over the Atlantic Ocean at the time of the incident, limiting options for emergency diversion. Under such conditions, even a perceived threat can escalate quickly, placing additional pressure on crew and passengers alike.

Cossio, who commands more than 12 million followers on Instagram and upwards of 19 million on TikTok, has since denied the allegations. He claims the incident has been misrepresented and insists he will release video footage to clarify what happened, dismissing the reports as “gossip” and false accusations.

But denial does little to erase the broader implications.

The influencer has built his online persona around shock-driven content – often involving elaborate setups designed to provoke strong reactions. In previous videos, similar “odor-based” gags have been used on friends and acquaintances. Transplanting that formula into a commercial aircraft, however, represents a significant escalation.

In the algorithmic economy of social media, outrage is currency. Platforms reward engagement – clicks, shares, comments – often amplifying the most extreme content. For influencers, this creates constant pressure to push boundaries further, to transform everyday situations into spectacles.

But what happens when that spectacle unfolds in a high-risk, regulated environment?

The incident has reignited debate in Colombia over the limits of digital content and the responsibilities of public figures. Avianca used the moment to call on lawmakers to advance a Proyecto de Ley 153 de 2025, aimed at strengthening sanctions against conflictive passengers and enhancing protections for airline crews.

The aviation industry, both in Colombia and globally, has reported a rise in unruly passenger behavior in recent years. From altercations to non-compliance with safety instructions, the incident comes amid a wider shift in airline policy toward stricter enforcement of passenger conduct. Carriers are increasingly drawing hard lines around behavior once dismissed as merely inconsiderate. United Airlines, for instance, recently updated its contract of carriage to require passengers to use headphones when listening to personal devices, explicitly reserving the right to remove those who refuse and even ban repeat offenders.

The message is clear: in the confined, high-stakes environment of a commercial aircraft, disruption – no matter how trivial it may seem on the ground – is no longer tolerated. And for the passengers aboard AV46, the experience was not content. It was a disruption – uninvited, unsettling, and entirely avoidable.

Colombian authorities are investigating whether mechanical failure, human error or excess weight caused the crash of a military C-130 aircraft that has now left at least 69 dead, as a political dispute intensifies over the condition of the country’s aging air fleet.

The aircraft, a Lockheed C-130 Hercules operated by the Colombian Aerospace Force (FAC), went down shortly after take-off on Monday near Puerto Leguízamo, in a remote jungle region bordering Peru and Ecuador.

The plane, identified as FAC 1016, was carrying 128 personnel when it crashed minutes after departure en route to Puerto Asís, roughly 200 kilometres away. Officials have confirmed dozens of survivors, though many remain hospitalised with injuries ranging from minor trauma to severe burns.

Emergency crews faced major challenges reaching the crash site due to the dense Amazonian terrain, while the impact and subsequent fire — compounded by detonations from ammunition on board — left many bodies severely damaged, complicating identification efforts.

Aging aircraft under scrutiny

The C-130H aircraft had been in service since 1983 and was donated to Colombia by the United States in 2020 as part of long-standing bilateral defence cooperation. It underwent a major maintenance overhaul in 2023, including structural inspections and system upgrades, before being returned to operation.

Despite its age, military officials insist the aircraft remained within operational limits. General Carlos Fernando Silva publicly contradicted President Gustavo Petro’s description of the aircraft as “scrap”, presenting detailed figures on its operational life during a televised cabinet meeting alongside Defence Minister Pedro Sánchez and senior military officials.

General Silva said the aircraft had flown 345 hours between 2021 and 2024, and 537 hours in 2025, broadly in line with standard annual usage of around 500 hours. Based on remaining flight capacity — estimated at up to 20,000 hours — he said the aircraft could theoretically continue operating for decades if strict maintenance protocols were followed.

Concerns have emerged from U.S. defence officials regarding maintenance standards and the availability of spare parts for aircraft supplied to Colombia, according to reports by El Tiempo. Sources cited by the newspaper said such aircraft can operate safely for around 10,000 hours, provided rigorous inspection and servicing regimes are maintained.

United States Southern Command has offered to support Colombia’s investigation with a technical team, underscoring the importance of determining whether maintenance, logistics or operational factors contributed to the crash.

Authorities reiterated there is no indication the crash was caused by hostile action, despite the aircraft going down in a region where dissident factions of the former FARC operate and where coca cultivation is widespread.

Investigators are focusing on three main hypotheses: mechanical failure, pilot error, or overloading at take-off. Officials said flight data, maintenance records and communications with air traffic control will be central to establishing the sequence of events.

The disaster has triggered a heated political exchange between President Gustavo Petro and his predecessor Iván Duque, exposing sharp divisions over defence policy and military procurement.

Petro described the aircraft as “scrap”, criticizing past administrations for accepting donated military equipment and arguing that such decisions have weakened Colombia’s operational capacity. “A country cannot defend itself with obsolete machines,” he said, pledging that his government would prioritize acquiring new equipment and strengthening domestic defence production.

He also questioned the long-term cost of maintaining aging platforms, suggesting that donated equipment can ultimately impose higher financial and operational burdens.

Duque strongly rejected the accusation, defending his administration’s handling of the armed forces and pointing to maintenance protocols carried out before the aircraft was delivered. He noted that C-130 aircraft continue to operate in dozens of countries worldwide and urged a technical investigation into factors such as aircraft weight, runway conditions and operational procedures.

Duque also accused Petro of callous social media statements in the hours after the tragedy, calling for restraint while investigations remain ongoing.

The crash adds to six previous military aviation accidents since 2022 and raises deep concerns about the readiness and sustainability of Colombia’s air fleet, much of which relies on aging platforms acquired through international cooperation.

Analysts say the incident could intensify scrutiny over budget-cuts in defence spending, maintenance capacity and the balance between acquiring new equipment and extending the life of existing assets.

As recovery operations continue in Putumayo’s dense jungle, authorities face the dual challenge of identifying victims and providing answers to families, while determining whether the disaster reflects isolated failure or deeper systemic issues within Colombia’s military aviation infrastructure.

At least 66 people were killed after a Colombian military transport aircraft crashed shortly after take-off in the country’s southwest on Monday, authorities said, in one of the deadliest air disasters involving the armed forces in recent years.

The aircraft, a C-130 Hercules, went down at around 9:50 a.m. local time near the municipality of Puerto Leguízamo, in a remote jungle region close to the borders with Peru and Ecuador.

According to Colombia’s Defence Ministry, 128 people were on board the aircraft, including 11 crew members from the Colombian Aerospace Force, 115 members of the army and two police officers.

By late Monday, officials confirmed 66 fatalities: six from the air force, 58 from the army and two from the police. Rescue teams managed to evacuate 57 survivors, many of whom sustained injuries. Eight were transferred to hospitals in Florencia, while 49 were flown to Bogotá, where 19 are being treated at the Military Hospital and others for less serious injuries at a military medical facility.

Authorities said one soldier survived unharmed, while four others remained missing as search operations continued in dense jungle terrain.

The aircraft, identified as FAC 1016, had taken off from Puerto Leguízamo en route to Puerto Asís, roughly 200 kilometres away, when it lost altitude and crashed within minutes of departure.

Military officials said the plane went down about two kilometres from the airport in a rural area. Witnesses reported a fireball upon impact, followed by secondary explosions.

Defence Minister Pedro Sánchez said the situation was worsened by the detonation of ammunition being transported by troops on board.

“As a consequence of the fire, part of the ammunition carried by the personnel exploded,” Sánchez said, complicating rescue and recovery efforts.

Emergency crews faced significant challenges accessing the crash site due to the remote Amazonian terrain, while the condition of many bodies has made identification difficult.

No signs of attack

Military authorities said there is no evidence so far that the crash was caused by an attack.

“At this time, there is no information or indication that this was the result of an attack by any illegal armed group,” said General Hugo López, who added that a full investigation is underway.

The region where the aircraft crashed is known for the presence of dissident factions of the former FARC guerrilla group, which operate in areas with extensive coca cultivation used for cocaine production. However, officials stressed that current evidence points away from sabotage.

Questions over aircraft condition

The crash has triggered a political debate over the condition of Colombia’s military fleet, just weeks ahead of the country’s presidential elections.

The aircraft involved was a C-130H Hercules, an older variant of the widely used military transport plane originally introduced in the 1960s by Lockheed Martin.

According to available data, the aircraft had been in service since the early 1980s and was transferred to Colombia by the United States in 2020.

President Gustavo Petro suggested the plane represented outdated equipment acquired by a previous administration.

“In 2020, scrap was purchased,” Petro said on social media, referring to the government of former president Iván Duque. He added that his administration had sought to modernize military equipment but faced bureaucratic obstacles.

Opposition figures, however, argued that budget cuts under Petro’s government have affected maintenance and operational readiness within the armed forces.

In a message posted online, Petro expressed condolences to the families of the victims and praised residents of Putumayo who rushed to assist survivors.

“This is how a nation is built,” he wrote, thanking locals who reached the crash site on foot and by motorcycle to provide water and aid.

Authorities said the investigation will examine technical, mechanical and operational factors, including maintenance records and flight data, as Colombia seeks answers to a tragedy that has shaken the country’s military and reignited debate over defence policy.

Conservative presidential candidate Paloma Valencia has chosen economist and former statistics chief Juan Daniel Oviedo as her vice-presidential running mate, a move widely interpreted as an effort by the right-wing Centro Democrático to broaden its appeal beyond its traditional conservative base ahead of Colombia’s May 31 presidential election.

The alliance seeks to balance Valencia’s hard-line security message – closely associated with former president Álvaro Uribe Vélez – with Oviedo’s more technocratic and centrist profile, which resonates with younger, urban voters.

Announcing the ticket in the bustling commercial district of San Victorino in central Bogotá, Valencia said the decision followed consultations within the party and with Uribe himself.

“We have reached the conclusion that the best teammate is Juan Daniel Oviedo,” Valencia said. “He obtained a popular backing that excites all of us. He is connecting with many Colombians who did not feel represented.”

The announcement comes just days before the deadline to register presidential tickets with Colombia’s electoral authorities and follows Valencia’s decisive victory in the conservative primary coalition known as “La Gran Consulta,” where she secured more than three million votes. Oviedo finished second with more than one million, quickly emerging as one of the race’s unexpected political figures.

Balancinga new centre

Valencia, a staunch supporter of Uribe’s political project, has repeatedly signaled she will not distance herself from the former president’s ideological influence.

“I’m not going to distance myself from Uribe; I’m going to die a Uribe supporter,” she said in a recent interview with El País, reaffirming her commitment to the security agenda associated with the former two-term president.

Yet her choice of Oviedo indicates an attempt to broaden the coalition’s reach. The economist, who gained national prominence as director of Colombia’s national statistics agency – DANE – is widely viewed as a highly-skilled data-driven analyst with appeal among educated urban voters in their thirties and forties – many of whom supported the Colombian Peace Agreement.

That demographic has traditionally gravitated toward centrist figures such as former Bogotá mayor Claudia López or the moderate political movement associated with Sergio Fajardo.

Oviedo’s presence on the ticket could help the conservative bloc penetrate that electorate while also tempering some of the party’s more polarizing rhetoric.

Beyond Differences

The partnership did not come easily. According to campaign strategists involved in negotiations, several days of discussions were required to reconcile differences between the candidates – particularly regarding Colombia’s peace process.

The Centro Democrático has long been critical of the transitional justice system created by the 2016 accord, especially the Jurisdicción Especial para la Paz (JEP), which has been investigating war crimes committed by ex-FARC and Armed Forces during two decades of the internal conflict.

Oviedo, however, has publicly supported the peace agreement and defended the need for reconciliation. Speaking after accepting the nomination, Oviedo emphasized the importance of political dialogue despite ideological differences.

“This is about listening,” he said. “In this coalition we are capable of recognizing our differences but uniting around a fundamental purpose: looking toward the future and building a country where everyone fits.”

He also highlighted his intention to include diverse sectors of Colombian society, mentioning farmers, informal workers, women and the LGBT community.

Strategic Moves in Gran San

The announcement’s location – San Victorino’s Gran San commercial center, one of Bogotá’s busiest retail hubs- was also symbolic. The district is a bustling marketplace dominated by small traders and informal workers, a constituency both candidates say they want to court.

Valencia described the alliance as a forward-looking project for a country weary of political polarization.

“We have many pains as a nation,” she said during the event. “If we only look backward we will find wounds that still need healing. But we have another option: to look forward toward the future we deserve.”

She also praised Oviedo’s credentials, describing him as a policymaker who understands the deep structural and social challenges facing Colombia. “He likes numbers, he likes studying,” she said. “Government is not about talking nonsense about problems – it’s about understanding them deeply in order to solve them,” she said to waves of applause.

The announcement quickly triggered reactions from across Colombia’s political landscape.

Former Liberal president Ernesto Samper welcomed the decision, arguing that Oviedo’s acceptance of the vice-presidential role signaled an implicit recognition by the right-wing party of the peace process. “The acceptance of Juan Daniel Oviedo demonstrates that the Centro Democrático validates the Havana peace agreement and the continuation of the JEP,” he Samper.

With the campaign entering its decisive phase, the Valencia-Oviedo ticket represents a strategic attempt to unite two currents within Colombia’s conservative electorate: an older security-focused base loyal to Uribe and a younger urban sector seeking pragmatic solutions to the internal conflict.

Whether the combination can bridge Colombia’s ideological divide – or deepen it- will likely shape the tone of the presidential race in the weeks and moths leading to the decisive vote.