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.