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.

Colombia’s coffee-cacao export push generates 100+ tons in foreign sales

Colombia’s Ministerio de Relaciones Exteriores convened ambassadors, international organizations, agricultural producers, and strategic partners in Bogotá on May 15, 2026, to present the Ruta del Café y Cacao, a government-led strategy that uses the diplomatic network to connect Colombian specialty coffee and cacao producers directly with international buyers, importers, and distributors. The session was organized in coordination with the Departamento Nacional de Planeación (DNP), Colombia Compra Eficiente, and the Servicio Nacional de Aprendizaje (SENA), with additional participation from the Agencia de Desarrollo Rural and the Unidad de Implementación del Acuerdo de Paz.

Between 2025 and 2026, the Ruta del Café y Cacao has participated in international trade fairs and multilateral venues in Asia, the Americas, and Europe, generating more than 1,200 commercial contacts and exports exceeding 100 tons. The strategy is coordinated through Colombia Nos Une, a directorate within the Ministerio de Relaciones Exteriores that oversees relations with Colombian communities and commercial networks abroad.

“This strategy is not limited to the promotion of a product. It is a tool of economic diplomacy, productive inclusion, rural development, and peacebuilding.” — Rosa Yolanda Villavicencio Mapy, Minister of Foreign Relations of Colombia

Foreign Minister Rosa Yolanda Villavicencio Mapy used the event to outline the government’s rationale for embedding agricultural trade promotion into foreign policy. “From the Ministry of Foreign Relations, we want economic diplomacy to translate into concrete results for the territories,” she said. “Foreign policy must have the capacity to open opportunities, connect markets, and contribute to the productive development of our communities.” She added that the strategy extends beyond product promotion: “It is a tool of economic diplomacy, productive inclusion, rural development, and peacebuilding.”

Natalia Irene Molina Posso, director general of the Departamento Nacional de Planeación, presented the Café Social program as a related mechanism designed to strengthen small agricultural producers. The initiative links public procurement policy with territorial development and small-scale coffee farming, creating demand channels within Colombia’s public sector for domestically produced specialty coffee.

Gloria Cuartas Montoya, director of the Unidad de Implementación del Acuerdo de Paz, addressed the relationship between coffee and cacao production and post-conflict territorial transformation. “You have all the entities that have been working on the implementation of the Peace Agreement and in the new processes being carried out, so that territorial peace finds in these two [commodity] lines paths of enormous value and projection,” she said. Cuartas also referenced recent engagement in Barcelona, where business operators and organizations expressed interest in awareness-building activities around Colombian coffee and cacao, citing the social and community dimensions behind those products.

A central element of the event was the participation of producers and associations from multiple regions of Colombia, convened by the Ministerio de Relaciones Exteriores through the Colombia Nos Une directorate. The participants included cooperatives and producer groups led by women, former combatants who signed the 2016 Peace Agreement, ethnic communities, and victims of the armed conflict. These groups presented their productive and commercial operations directly to diplomatic delegations attending the event.

The session also included a guided coffee tasting led by SENA’s Escuela Nacional del Café, during which attendees sampled specialty coffee varieties and received information on production processes and the characteristics that differentiate Colombian coffees participating in the Ruta del Café y Cacao. The tasting segment was designed to give diplomatic representatives direct exposure to the product profiles of the producers involved in the strategy.

Photo courtesy of Ministry of Foreign Relations of Colombia

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.

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National Health Superintendence oversees patients’ rights and regulates EPS insurers, a key pillar of the system that President Petro has sought to eliminate in his reform efforts

Former Medellín mayor and former presidential pre-candidate Daniel Quintero has been appointed as Colombia’s new National Superintendent of Health, a decision that has sparked controversy across political and social sectors due to ongoing judicial and disciplinary investigations against him.

The National Health Superintendence is responsible for safeguarding the rights of users within the health system, overseeing Health Promoting Entities (also called EPS) and Health Service Providers (IPS), and monitoring the use of public finances allocated to the sector, areas that President Gustavo Petro has sought to reform during his administration.

The appointment comes amid a complex situation in Colombia’s health system. During his administration, President Petro presented two structural reform proposals aimed at reshaping the system, including major changes to the role of EPS. Both initiatives were rejected by Congress.

Following these legislative setbacks, the government has pursued reforms through administrative measures and decrees, including the intervention of several of the country’s largest EPS, which together serve more than 23 million affiliates (More information: Colombian President Gustavo Petro Seeks To Restructure Colombian Health Care Despite Congressional Rejection by Finance Colombia).

During his swearing-in, Quintero said his administration would strengthen oversight of the system. “It is time to put an end to abuses by the EPS,” he said.

Criticism over qualifications and legal cases

The appointment has drawn criticism from organizations and political figures who question both his background as an electronic engineer and his legal situation. Transparency for Colombia said the designation “is inappropriate because it places a political figure widely questioned for using public office to favor private interests in charge of addressing the health crisis, instead of appointing individuals with the training, knowledge, and experience required to resolve it.”

The organization also called on the Attorney General’s Office to expedite ongoing investigations. “We respectfully call on the Attorney General’s Office (FGN) to ensure that cases involving Daniel Quintero move forward swiftly, respecting due process guarantees while delivering results in light of the seriousness of the allegations,” it said.

Quintero, who served as mayor of Medellín from 2020 to 2023, faces more than 40 criminal and disciplinary complaints related to alleged corruption during his administration. Among them is the “Aguas Vivas” case, involving the sale of a forest reserve land plot exceeding 140,000 square meters. In that case, prosecutors have already filed charges for alleged embezzlement, undue interest in public contracts, and misconduct in office, although no conviction has been issued.

Criticism has also emerged from within the government. Carlos Carrillo, head of Colombia’s National Unit for Disaster Risk Management, said that “Quintero is currently on trial for crimes against public administration. He has the right to defend himself, but the Pacto Histórico has no reason to bear the political cost of his legal troubles; we owe him nothing and he brings us nothing.”

Quintero will be the fifth health superintendent appointed during Petro’s administration. His tenure is expected to be temporary, as a new president will take office on August 7, 2026, and will have the authority to appoint a new head of the agency.

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.

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.

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.

Escalating drought risk is potential bad news for rural communities, power consumers.

The National Oceanic and Atmospheric Administration (NOAA) and the Climate Prediction Center (CPC) have confirmed that ENSO-neutral conditions are currently present in the equatorial Pacific Ocean. However, technical indicators suggest a rapid transition, with a 61% probability of El Niño emerging between May and July 2026. For international investors and executives operating in Colombia, this shift indicates a looming period of increased operational costs, specifically within the energy and agricultural sectors.

The El Niño Southern Oscillation (ENSO) is a recurring climate pattern involving changes in the temperature of waters in the central and eastern tropical Pacific Ocean. During El Niño, trade winds weaken, allowing warm water to move toward the west coast of South America. Conversely, La Niña is characterized by stronger trade winds and cooler ocean temperatures. These fluctuations disrupt global atmospheric circulation, altering rainfall and temperature patterns across the planet.

In Colombia, the effects of these phenomena are distinct and significant. El Niño typically results in a sharp decrease in precipitation and a rise in average temperatures. Because Colombia relies on hydroelectricity for more than 60% of its total power generation, extended dry periods lead to lower reservoir levels. This forces the grid to rely on more expensive thermal generation fueled by natural gas and coal, which historically drives up spot market electricity prices for industrial and residential consumers.

“There is a 25% probability that the index reaches or exceeds +2.0°C during the Northern Hemisphere winter,” according to the National Oceanic and Atmospheric Administration.

The current technical diagnostic from NOAA shows that while the sea surface temperature index in the Niño-3.4 region was recently -0.2°C, the easternmost indices have already moved into positive territory. Furthermore, the equatorial subsurface temperature index has increased for five consecutive months. This accumulation of ocean heat is a primary driver behind the high probability of El Niño persistence through the end of 2026. Some models, including those from the European Centre for Medium-Range Weather Forecasts (ECMWF), suggest a 25% chance of a “strong” or “very strong” event, where temperatures exceed the 2.0°C anomaly threshold.

The Ministerio de Minas y Energía and the Comisión de Regulación de Energía y Gas (CREG) are monitoring these developments closely. A strong El Niño would place additional stress on a natural gas system already facing structural supply constraints. Reduced hydroelectric output coupled with a potential deficit in gas supply could lead to significant energy price volatility. In past events, such as the 2015-2016 cycle, these conditions resulted in substantial financial pressure on the national utility system and necessitated emergency conservation measures.

Agricultural productivity is equally at risk. The Instituto de Hidrología, Meteorología y Estudios Ambientales (IDEAM) has identified the Caribbean and Andean regions—including departments such as La Guajira, Magdalena, and Antioquia—as highly vulnerable. During El Niño, these areas face increased risks of forest fires, water scarcity, and crop failure. For agribusinesses and exporters, this translates to disrupted planting cycles and higher production costs for staples like corn, potatoes, and vegetables, which can fuel domestic food inflation.

Conversely, when La Niña is in effect, Colombia faces the opposite extreme. The cooling of the Pacific leads to excessive rainfall, which can cause devastating landslides and flooding in mountainous terrain. While La Niña can replenish reservoirs, it often damages infrastructure and logistics networks, complicating the transport of goods to port. The current transition out of a La Niña phase provides a brief window of ENSO-neutral stability, which the CPC estimates has an 80% chance of lasting through June 2026.

For the international business community, the significance of these weather cycles extends to macro-economic stability. Persistent dry weather can impact GDP growth by raising the cost of basic services and reducing agricultural output. Strategic planning for 2026 and 2027 must account for these climatic variables. Meteorologists at Colorado State University note that El Niño also tends to reduce hurricane activity in the Atlantic, which may provide some relief for coastal logistics, but the primary threat remains the inland hydrological deficit.

As the Ministerio de Ambiente y Desarrollo Sostenible activates preventive mechanisms, companies are encouraged to review their energy procurement strategies and water management protocols. The next comprehensive diagnostic update from NOAA is scheduled for May 14, 2026, which will provide further clarity on the intensity of the projected warming trend. Understanding the mechanics of the ENSO cycle is no longer a matter of environmental interest but a necessity for risk mitigation in the Colombian market.

Headline photo: the Pacific Ocean from Guachalito Beach, Chocó, Colombia (photo © Loren Moss)

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.

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Activity cools to 2.1% annual expansion.

Economic activity in Colombia expanded at an estimated annual rate of 2.1% during the first quarter of 2026. According to the latest NowCast report issued by the Grupo Cibest, unit of Bancolombia (NYSE: CIB, BVC: BCOLOMBIA), this outcome reflects a loss of momentum compared to the rolling quarter ended in February. That previous period recorded a growth of 2.2%, which was revised downward by 10 basis points from an initial estimate of 2.3%.

The 2.1% growth rate for the quarter indicates a slowdown relative to both the market consensus average of 2.7% and the internal growth forecast of 3.3% held by the bank. On a month-over-month basis, the seasonally adjusted series of the NowCast index posted a 1.3% contraction in March 2026. When compared to March 2025, economic activity grew by 2% year over year, representing a 50-basis-point decline from the 2.5% reading recorded the previous month.

“Overall, these results suggest that the economy is beginning to lose steam, amid multiple sources of uncertainty.” — NowCast Bancolombia Report

Analysis at the sector level reveals a broadly weaker growth profile, with deceleration appearing across most productive areas. Slower momentum was identified in trade, manufacturing, recreation, real estate, and financial services. Manufacturing expansion cooled to 1.0% in March 2026, while financial services recorded marginal growth of 0.6%. The real estate sector maintained a steady growth rate of 1.9%.

Construction and communications were the only sectors to record negative growth during the period. The construction sector saw a significant downturn, contracting by 2.3% in March 2026 after having posted 1.4% growth in February. The information and communications sector contracted by 0.4%, marking its fourth consecutive month in contractionary territory. Conversely, acceleration was noted in public administration, which grew by 5.1%, agriculture at 3.7%, and mining at 0.8%.

The NowCast family of indicators is prepared by Grupo Cibest through the processing and aggregation of transaction data from the bank’s various payment channels. Using advanced quantitative tools, the index provides high-frequency estimates of Colombian productive activity to complement official data from the Departamento Administrativo Nacional de Estadística. The report was authored by Arturo Yesid González Peña, Head of Quantitative and Analytics, and Sebastián Ospina Cuartas, Data Controller.

The report also incorporates data from the Bloomberg platform and FocusEconomics Consensus Forecasts to provide broader economic context. While the national economy remains in expansionary territory, the analysts suggest that the current results indicate the market is losing steam due to various sources of domestic uncertainty.

UNESCO has designated Medellín, Colombia’s second-largest city, as the World Book Capital for 2027, recognizing the Colombian city’s rapid growth in reading culture and its use of books and libraries as tools for social transformation.

The decision, announced in March, follows a recommendation by the organization’s World Book Capital Advisory Committee, made up of publishers, booksellers and authors. 

Medellín will become the 27th city to hold the title since 2001, with its program set to begin on April 23, 2027, coinciding with World Book and Copyright Day.

UNESCO said Medellín has seen a 542% increase in bookstores over the past 70 years, placing it at the top of Colombia’s reading index. The city is home to more than 110 bookstores and 25 libraries, many of them built as part of urban renewal projects that transformed former prisons and police facilities into cultural spaces.

“Books are not just carriers of stories. They are a source of creativity and learning,” said UNESCO Director General Khaled El-Enany, adding that Medellín’s designation sends “a powerful message about how culture can build peace and social cohesion.”

Mayor Federico Gutiérrez described the recognition as a milestone for the city. “Medellín has shown that reading is a fundamental part of its culture,” he said. “We want every child born here to grow up with a book in their hands.”

Gutiérrez said Medellín’s bid for the World Book Capital designation was built around five strategic pillars, including early childhood reading programs to ensure access to books from birth, as well as initiatives to promote reading among students through book clubs and opportunities to meet authors and engage with their work.

Cities named World Book Capital commit to promoting reading across all age groups and organizing a year-long program of cultural activities. According to Spanish-language philologist Andrea Peláez, the initiative is designed to support cities with strong cultural momentum.

“These are cities with significant cultural mobilization,” Peláez said. “UNESCO supports them for a year to develop projects that promote reading, especially among young people and vulnerable communities, while strengthening literacy ecosystems overall.”

A key part of Medellín’s literary ecosystem is its Eventos del Libro, a series of large-scale public events including the Book and Culture Festival (Fiesta del Libro y la Cultura), which bring together writers, publishers and readers across the city. 

These events promote reading through school programs, author visits and community activities, often encouraging students to engage with books ahead of meeting authors in person.

UNESCO said the designation is part of broader efforts to strengthen literacy and access to books worldwide, highlighting similar initiatives in regions such as Central America and Ethiopia.

Once associated with violence, Medellín has gained international recognition in recent decades for its cultural and urban transformation – with books and libraries playing part in that shift.

Featured image credit: Festival de Libro Medellín.

The post Medellín named World Book Capital 2027, highlighting cultural transformation appeared first on The Bogotá Post.

The move targets a high-value niche in the European bioeconomy, offering a scalable model for sustainable Amazonian exports.

The Colombian government has formally submitted a technical and scientific dossier to the European Union seeking authorization to market cacay flour as a “Novel Food.” This regulatory category governs the entry of non-traditional food products into the European market.

The submission is the first of its kind for an Amazonian product from Colombia. It follows a 2024 initiative involving the Ministry of Commerce, Industry, and Tourism and the [suspicious link removed]. The process was supported by the Sustainable Forest Territories (Territorios Forestales Sostenibles or TEFOS 3) project, a program funded by the British Embassy and the German Cooperation GIZ.

Diana Marcela Morales Rojas, the Minister of Commerce, Industry, and Tourism, stated that the application positions cacay as a strategic component of the national portfolio of high-value natural ingredients. The technical dossier was structured according to the guidelines of the European Food Safety Authority (EFSA). To meet these standards, Colombia provided evidence of safe historical consumption for at least 25 years, alongside data on nutritional profiles, safety, traceability, and sustainable production processes.

The administrative validation phase is expected to take one month, followed by a technical and scientific evaluation by EFSA that may last up to nine months. Six Colombian companies participated in the drafting of the expediente, providing technical data and validating industrial processes to demonstrate the feasibility of large-scale production under international standards.

“This step positions the cacay as a strategic ingredient within the Colombian portfolio of high-value-added natural products.” — Diana Marcela Morales Rojas, Minister of Commerce, Industry, and Tourism.

The cacay nut, native to the Amazon and Orinoquia regions, produces a seed containing up to 60% oil rich in omega-6 and omega-9. The flour, a byproduct of the oil extraction process, contains approximately 40% protein and high fiber content. Beyond its nutritional applications, the crop is integrated into agroforestry systems aimed at restoring degraded lands and promoting biodiversity.

Currently, the cacay value chain involves more than 500 peasant and indigenous families. If approved, the flour would join Colombia’s non-traditional export basket to Europe, reinforcing a bioeconomy model based on fair trade and the sustainable use of biodiversity.

Colombian President Gustavo Petro is continuing to make changes to Colombia’s health system through administrative measures, after two attempts to pass a legislative reform were rejected by Congress.

The latest decision is Decree 0182 of 2026, which centralizes the provision of health services in approximately 45% of the country under the administration of Nueva EPS, a mixed public-private company currently under government intervention. As part of the measure, the insurer would receive 2,84 million reassigned members.

According to the government, the decree seeks to modify the flow of resources within the system so that funds would be paid from the government directly to healthcare providers, such as hospitals and clinics. This change would limit the traditional role of the Entidades Prestadoras de Salud (EPS), the system’s intermediaries, whose reduction has been one of the Petro administration’s key policy goals.

President Petro has publicly defended this approach. In a message posted on the social media platform X, he said that EPS entities “devour 70 trillion pesos annually and demonstrably benefit the wealth of their owners.” The president has also blamed these institutions for the crisis affecting the health sector over the past decade, arguing that during that time “the theft of health resources multiplied, and 117 EPS were liquidated to avoid paying their debts.”

The decree has sparked debate in the media. Some reports, including those published by the outlet Infobae after reviewing the official document, described the measure as a “mass transfer of patients and territorial reorganization of the health system.” However, the Ministry of Health rejected that interpretation and clarified that the measure “does not involve an arbitrary transfer of users, but rather a technical step aimed at correcting structural failures in the insurance model”.

In a statement, the ministry explained that “when an EPS lacks operational or financial capacity in a given territory, the state is authorized to adopt temporary mechanisms to ensure healthcare access for users.” The ministry also stated that the goal of the decree is to guarantee effective, fair, dignified and continuous access to healthcare services across the country, particularly in regions where geographic dispersion and low population density have historically complicated service delivery.

Political and administrative context

The debate comes amid a broader process of administrative interventions within the system. According to reports cited by the newspaper El Colombiano, “over the past three years the government, through the Superintendencia Nacional de Salud, has intervened in seven EPS,” removing their management from private owners and placing them under state-appointed administrators.

The government has used this context to justify administrative measures such as those included in the decree, arguing that several insurers have demonstrated structural operational weaknesses. At the same time, the legislative debate over a comprehensive health reform has not been completely closed. According to the same outlet, the government is still exploring the possibility of reviving the reform bill through an appeal filed by Senator Fabián Díaz. In the meantime, the administration has moved forward with changes through decrees, regulatory resolutions and decisions by the health regulator.

Despite the publication of the decree, its implementation still requires additional administrative steps. According to analysis cited by Infobae, “the transfer of members will not occur automatically, as it depends on the Superintendencia Nacional de Salud issuing administrative acts that update the territorial scope of the EPS”. This means the reorganization of the system could unfold gradually once the required regulatory procedures are completed.

In Bogotá, the mountains are never out of sight. They rise abruptly along the city’s eastern edge, forming a green wall that shapes the capital’s light, weather and sense of place. For Colombian artist Marina Sánchez, the ridges that surround the Colombian capital’s cardinal points are also more intimate: a constant presence, a point of orientation and, increasingly, a subject of quiet urgency.

Her latest exhibition, Panorámicas de la Sabana, runs from 5 to 29 March inside the colonial  Museo del Chicó, where 26 acrylic-on-canvas works reinterpret the high-altitude plateau of the Sabana through a distinctly chromatic lens. Installed in the museum’s Salón Colonial, the show brings together landscape, memory and abstraction in a series that feels both personal and outward-looking.

Sánchez has long been recognized for her expressive use of colour but this body of work marks a measured shift. While her earlier practice leaned towards abstraction, here the forms are more legible—ridgelines, shifting skies, traces of vegetation – yet never fixed. Instead, they dissolve through layered pigments and gestural brushwork that privilege sensation over strict representation.

What distinguishes Sánchez’s approach becomes clear in the work itself. The Cerros are not rendered as stable topography but as shifting, atmospheric forms. Bands of diffusec green rise and fold into one another, interrupted by flashes of cobalt, ochre and lilac, while a dense, unsettled sky presses down with quiet intensity. The composition resists stillness. It moves – closer to inclement weather than landscape.

Rather than mapping terrain, Sánchez constructs it through colour. The mountains appear to breathe, their contours dissolving at the edges as if seen through mist or memory. There is no single vantage point; the eye travels across the canvas, tracing lines that feel at once familiar and unstable.

“I want to show the relevance of these giants that often go unnoticed,” Sánchez says. For Bogotá’s residents, the hills are omnipresent yet rarely examined beyond their silhouette. In her telling, they become active participants in the city’s identity – “guardians” that accompany an urban landscape marked by rapid, and at times impersonal, expansion.

The project began during the pandemic, when isolation altered both her routine and perspective. Working from home, Sánchez found herself drawn to the view outside her window: the slow fade of light across the mountains, the subtle shifts in colour at dusk.

“Being away from people – family, friends – I was left with the sky and the light of sunsets,” she says. “I wanted to replicate something I hadn’t fully appreciated and, in doing so, feel part of nature.”

Her visual language, however, is not shaped by Bogotá alone. Sánchez has exhibited in New York City and Milan – cities where she has also lived, and whose pace and structure have informed her approach to rhythm and composition. If Bogotá provides the grounding geography, New York and Milan introduce a contrasting sensibility: verticality, movement and a heightened awareness of structure.

These contrasting narratives – from urban to rural, isolation and engagement, are visible throughout Panorámicas de la Sabana. Linear gestures – suggestive of passing headlights or urban flow – cut across certain canvases, briefly suspending the stillness of the mountains. It is a restrained intervention but an effective one, hinting at the tension between expansion and preservation.

Colour, in Sánchez’s palette, is not decorative but foundational. Greens shift from luminous to dense; blues dissolve into shadow; entire forms recede into haze. The landscape is reassembled through pigment, hovering between recognition and abstraction.

She describes her work as “chromatic poetry”, a phrase that aligns with her broader intention: to create space for reflection. “I want to offer a moment of calm beyond the difficulties that surround us,” she says, “despite the inevitable conflicts, wars and inequalities.”

In Bogotá, that impulse carries particular weight. The Eastern Hills and peaks to the West are not only a visual constant but a fragile ecological system—central to water sources and biodiversity, yet increasingly under pressure from urban growth. Sánchez’s paintings do not argue this point directly; instead, they suggest it, allowing atmosphere and colour to carry meaning.

For the artist, colour remains essential. “It would be difficult for me to imagine the world in black and white,” she says. “Colour is vitality. It gives strength and solidity. It is pure magic.”

That conviction runs through the exhibition. The hills emerge not as backdrop but as presence—shifting, watchful and quietly insistent. In Sánchez’s hands, they ask to be seen again, and more carefully this time.

Panorámicas de la Sabana runs from 5 to 29 March at the Museo del Chicó (Carrera 9 No. 93-38, Bogotá). Admission is free.

Singapore has never been shy about scale. But this season, the city’s appetite for monumentality takes on a distinctly Latin American accent. For the first time, the work of Colombian master Fernando Botero makes his Singapore debut with the largest exhibition of his work ever showcased in Asia.

Spanning galleries, inter-active theatres and extensive public gardens, the landmark show presents more than 130 works, positioning the city-state as a hub for global Botero immersion. As the largest presentation of the Medellín-born artist (1932-2023), and timed to coincide with Singapore Art Week, Botero in Singapore unfolds across gallery walls, immersive media spaces and public gardens.

“My father loved Singapore,” remarked the artist’s son Fernando Botero Zea to The Strait Times, highligting that with this retrospective, the country now “has the highest concentration of Botero per capita”.

At the heart of the programme is Heart of Volume, a major gallery exhibition at IMBA Theatre, presenting more than 100 works drawn directly from the Botero family collection. Spanning seven decades, the exhibition traces the evolution of what the artist famously described not as exaggeration, but as “volume”: a formal strategy that lends weight, humour and authority to everyday scenes, portraits, still lifes and reimagined art-historical references.

Seen up close, the discipline behind Botero’s apparent abundance becomes clear. Small watercolours and intimate studies reveal a careful calibration of colour and balance, while larger canvases demonstrate his lifelong dialogue with European painting traditions—from Renaissance composition to modernist distortion—filtered through a distinctly Colombian sensibility. The effect is quietly didactic without ever feeling academic, a curatorial tone well suited to Singapore’s measured cultural landscape.

If Heart of Volume offers intimacy, Garden Grandeur delivers spectacle. Extending across the Silver Garden at Gardens by the Bay, ten monumental bronze sculptures bring Botero’s work into the rhythm of daily life. A towering Horse—more than three meters tall and weighing three tonnes – anchors the display, joined by familiar figures such as Adam and Eve, The Dancers and Woman on Horse. Installed against a backdrop of tropical greenery and glass conservatories, the sculptures feel less like foreign imports and more like temporary citizens of the city.

This democratic impulse was central to Botero’s thinking. As his son, Fernando Botero Zea, noted at the opening, the artist believed that public art should be touched, photographed and shared—an ethos that fits neatly with Singapore’s highly social public spaces. Here, Botero’s bronzes become meeting points and landmarks, their generous forms softening the city’s precision with a dose of playfulness.

The exhibition also introduces Life in Fullness, the world’s first immersive Botero experience: a 45-minute audiovisual journey narrated by his son, combining archival footage, animation and storytelling. It is a humanizing counterpoint to the grand scale elsewhere, framing Botero as father, provocateur and craftsman—an artist whose work often invites smiles, but is underpinned by a serious engagement with power, politics and art history.

Beyond the artworks themselves, Botero in Singapore signals a broader shift. Latin American artists have long been underrepresented in Southeast Asia’s major exhibition circuits, despite Singapore’s ambition to position itself as a global cultural hub. This collaboration—between IMBA, the Fernando Botero Foundation, and Colombia’s diplomatic mission—suggests a growing appetite for narratives that extend beyond the usual Euro-American axis.

There is also a certain symmetry at play. Botero’s art, with its emphasis on presence rather than speed, arrives in a city known for efficiency and control. His figures occupy space unapologetically; they slow the viewer down. In Singapore’s gardens and galleries, that insistence on taking up room feels less like excess and more like quiet persuasion.

As Singapore Art Week draws international collectors, curators and critics to one of the most affluent cities in Asia, Botero’s debut is both timely and long-overdue. It is not a retrospective weighed down by reverence, but a confident, outward-looking presentation that invites the public in – free of charge in the Gardens, and without intimidation indoors.

Botero’s Singapore moment is less about spectacle than about accessibility. His volumes, for all their heft, carry a lightness of spirit, and a persuasive contribution that art should always coexist alongside everyday life.

Colombia’s goldenberry symbolized the country’s push into high-value fruit exports. Now, it faces a turf war at home from a fruit with far greater global recognition: the blueberry. While blueberry cultivation has expanded rapidly across Colombia over the past decade, producers say the industry remains far from becoming a fully fledged export powerhouse.

Colombia currently has close to 1,000 hectares planted with blueberries, concentrated mainly in the Andean departments of Boyacá and Cundinamarca, which together account for almost the entire cultivated area. Smaller projects are emerging in Antioquia and other regions, bringing national production to an estimated 20,000 tonnes a year.

That marks a dramatic rise from just 40 hectares planted a decade ago. In the past two years alone, between 150 and 200 additional hectares have been planted, reflecting growing interest from investors and farmers seeking alternatives to traditional crops.

Yet despite this momentum, industry leaders warn that Colombia’s blueberry sector still lacks the scale, investment and coordination needed to compete seriously in international markets.

“Blueberries are one of the fastest-growing fruit crops in Colombia, but we are still very far from consolidating a true export agroindustry,” said Camilo Lozano, vice-president of Asocolblue, the national blueberry growers’ association, in an interview with La República.

Lozano argues that Colombia’s potential far exceeds its current footprint. “The country could easily reach 5,000, 6,000 or even 10,000 hectares,” he said. “But that won’t happen overnight. We need more investment, greater scale and the entry of larger producers.”

Peru offers a stark comparison. In 2012, Peruvian blueberry exports were worth just US$400,000. Today, they exceed US$3 billion, supported by more than 22,000 hectares of plantations. Colombia, Lozano notes, shares many of the same advantages that fuelled Peru’s rise: favourable soils, competitive labour costs, efficient logistics and the ability to produce year-round.

“These are the same conditions that made Colombia the world’s leading exporter of cut flowers,” he said.

Blueberries are particularly attractive because they are already deeply embedded in global consumer markets. In North America and Europe, they are a staple product, unlike many tropical fruits that require costly marketing campaigns to build demand.

“In the United States and Canada, consumers already know blueberries,” Lozano said. “You don’t have to explain what they are or how to eat them.”

At present, around 90 per cent of Colombia’s Arandano exports are destined for the United States, with Europe a distant second. Asia remains largely out of reach due to phytosanitary barriers and long shipping times, which can exceed 30 days by sea.

Even in established markets, Colombia struggles to meet minimum volume requirements. International buyers often request several containers per week, but domestic supply remains too fragmented to deliver consistently.

“Today, we get clients asking for five containers a week, and we can’t even fill one,” Lozano admitted. “Only two companies export blueberries by sea on a regular basis.”

The domestic market, however, tells a different story. According to industry estimates, formal blueberry sales in Colombia exceed 200 billion pesos (about US$50 million) annually. Imports — mainly from Peru and Chile — add another 50 billion pesos, highlighting the gap between local demand and national production.

That imbalance underscores both the opportunity and the challenge facing Colombian growers. While consumption is rising, domestic supply remains insufficient, and many producers lack the technical expertise and capital required to expand efficiently.

Asocolblue, which brings together 28 producers, has repeatedly warned that blueberries are not a crop for improvisation. Establishing a commercial plantation requires high upfront investment, technical knowledge, strict quality standards and long-term planning.

“This is not traditional agriculture,” Lozano said. “It’s an agro-industrial business.”

The association operates technical, export and marketing committees aimed at professionalising the sector and ensuring that growth does not come at the expense of productivity or sustainability.

For farmers who succeed, the rewards can be significant. Blueberries offer relatively stable international prices and allow producers to integrate into global supply chains, generating employment, foreign exchange and long-term income. “It allows the producer to make a qualitative leap — from farmer to agro-industrialist,” Lozano said. “It’s essentially an agricultural factory.”

For now, Colombia’s farmers across the Altiplanto Boyacense are enjoying their blueberry boom, but the story is more one of promise than parity with terrirorial rivals, such the uchuva and feijoa. Whether it can replicate the success of its flower industry — or Peru’s meteoric rise — will depend on how quickly investment, scale and coordination catch up with ambition.

Musical instruments are far more than tools for producing sound: they embody the cultural identity of a territory, carrying spiritual meanings, collective memory, and the deep-rooted expressions that shape a community’s history. Colombia en un Aliento 2026 (Colombia in a Breath 2026) invites audiences on a sonic journey through the country’s wind instruments, encouraging reflection on how human breath and aerophones have shaped identities, spiritual practices, and spaces of encounter from pre-Hispanic times to the present day.

Conceived as a national cultural project, Colombia en un aliento: instrumentos de viento que narran un país (Wind Instruments That Tell the Story of a Nation) brings together ancestral knowledge, popular traditions, and contemporary artistic creation. Through an interdisciplinary approach, the initiative connects past, present, and future via a wide-ranging cultural program structured around four thematic lines.

El soplo como rito de la vida (Breath as a Rite of Life) explores the symbolic and ritual significance of wind instruments among Indigenous and Afro-Colombian cultures, where blowing air through wood is understood as an act of vitality, spirituality, and connection with the natural world. In these traditions, breath is not merely physical – it is a force that sustains life, memory, and the sacred.

El viento del encuentro (The Wind of Encounter) focuses on the social and communal role of wind instruments in fiestas, carnivals, and collective celebrations. From village plazas to major public gatherings, these instruments create shared rhythms, reinforce bonds of belonging, and transform music into a space for encounter and social cohesion.

Alientos universales, músicas locales (Universal Breaths, Local Music) examines historical processes of cultural exchange, mestizaje, and adaptation. It traces how wind instruments introduced from other parts of the world were reinterpreted across Colombia’s diverse regions, giving rise to musical expressions deeply rooted in local landscapes, histories, and identities.

Respirar el future (Breathing the Future) looks toward contemporary creation techniques, from experimentation with digital technologies to new sonic languages. The section reflects on current artistic practices in which tradition and innovation coexist, opening pathways for composition, teaching, and cultural narratives.

Together, these four thematic pillars support spaces for reflection and research, that strengthen Colombia’s sound identity. From making local knowledge visible and fostering cultural innovation, more than a series, Colombia en un Aliento / Colombia in a Breath proposes a collective experience – an invitation to understand wind instruments as symbols of life, resistance, and social cohesion.

As a year-long project by the Cultural Subdirectorate of the Banco de la República – Central Bank – this initiative will continue in 2027 with a new thematic focus on the human voice as a sonic element, expanding its exploration of sound as a carrier of memory and meaning.

The initiative will be officially launched with the public conversation “El soplo y los instrumentos: sonidos que cuentan historias / Breath and Instruments: Sounds That Tell Stories” on Tuesday, February 3 at 5:00 p.m. in the Audiovisual Hall of the Luis Ángel Arango Library (BLAA) in Bogotá.

The event will feature José Pérez de Arce, Chilean musicologist and leading authority on ancestral aerophones; Humberto Galindo, Colombian researcher and director of the Museo Mundo Sonoro; and Luis Fernando Franco, composer and co-founder of Guana Récords with more than four decades dedicated to musical research and creation.

The conversation will also be streamed live on Banrepcultural’s YouTube channel, opening this shared reflection on breath, sound, and identity to audiences in Colombia and internationally.

For more information visit the cultural page of the Central Bank: https://www.banrepcultural.org/noticias/instrumentos-de-viento-en-colombia-en-un-aliento-2026

Beatriz González, one of Latin America’s most influential contemporary artists, whose boldly colored, deliberately unrefined paintings and installations confronted Colombia’s long history of political violence, public mourning and social inequality – while also reshaping the country’s most important public art collection – died on Jan. 9, 2026, at her home in Bogotá. She was 93.

Her death was announced by the Banco de la República, Colombia’s central bank, where for more than four decades she played a decisive role in shaping the institution’s cultural mission and its vast art collections. In a statement, the bank described her as “an essential figure in Colombian art and culture” and “a masterful narrator of memory.”

González was not only a prolific artist but also a historian, curator, educator and critic — a rare figure who helped define how Colombia would see its art, its past and, ultimately, itself. “Artists exist so that memory is not thrown in the trash,” she once said, a line that came to stand as a quiet manifesto for a career devoted to preserving what official histories often erased.

Born in Bucaramanga in 1932, González came of age during La Violencia, the brutal civil conflict that engulfed Colombia between 1948 and 1958. That formative experience would leave an indelible mark on her work. After briefly studying architecture, she enrolled at the University of the Andes in Bogotá, graduating with a degree in fine arts in 1962. She later studied printmaking in Rotterdam and counted among her teachers the influential critic Marta Traba, who helped shape modern art discourse in Latin America.

González’s early work drew attention for its irreverent treatment of European art history and Colombian popular imagery. Her critical view of “good taste” led her to reject academic refinement in favor of what the art critic Germán Rubiano described as an approach that was consciously unpolished and deliberately opposed to sophistication.

She appropriated masterpieces by Manet, Leonardo da Vinci and Raphael, flattening their compositions and translating them into the visual language of curtains, furniture and household objects. Armoires, beds, trays and even wallpaper became supports for paintings marked by compressed figures and bold color palettes — a strategy that blurred the boundary between high art and domestic life.

One of her earliest and most discussed works, The Sisga Suicides (1965), reimagined a newspaper photograph of a young couple who drowned themselves in a dam outside Bogotá. Rendered in vivid, almost cheerful colors, the painting exposed the uneasy coexistence of tragedy and banality in Colombian public life — a theme that would recur throughout her career.

By the 1980s, González’s art took on an increasingly overt political tone. Press photographs of presidents, massacres and grieving families became central to her work. She painted them repeatedly, transforming news images into objects of repetition and contemplation, as if to ask how a society becomes accustomed to its own suffering. “It’s been a critique of power that has permeated my work,” she told ArtReview in 2016. “For that very reason, I don’t think of it as ‘political’; it has an ethical commitment.”

Her focus on mourning was particularly stark in works depicting mothers weeping after the 1996 Las Delicias massacre, in which dozens of Colombian soldiers were killed by the FARC guerrilla. These images, stripped of sentimentality, confronted viewers with grief as a collective, inescapable condition. The depth with which González addressed both individual and collective mourning stands among her most significant contributions to contemporary art.

That macabre clarity intensified in the 2000s. In Anonymous Auras (2023), one of her final major works, González installed more than 8,000 printed silhouettes of workers carrying corpses across the wall niches of Bogotá’s Central Cemetery. The figures – anonymous, repetitive and almost ritualistic – transformed the cemetery into a monumental archive of loss, honoring victims whose names were never recorded.

“Artists exist so that memory is not thrown in the trash”

Parallel to her artistic production, González exerted extraordinary influence as a curator and cultural policymaker. Beginning in the 1980s, she became a close collaborator of the Banco de la República’s cultural division, serving as a researcher, curator and longtime member of its advisory committee on visual arts. In that role, she helped guide the formation of a national art collection with a distinctly Colombian focus, while insisting on dialogue with international works of the highest quality.

Few individuals knew the Central Bank’s art collection as intimately as González. Over more than forty years, she worked alongside successive generations of curators, historians and collectors, helping to consolidate one of the most important public art collections in Latin America.

In 2020, she donated her personal archive and library — nearly 100,000 documents — to the Banco de la República to ensure free public access. The archive documents not only her artistic practice but also her work as an educator, curator and historian, and provides an unparalleled record of Colombian art, politics and visual culture.

Her institutional impact reached beyond the Central Bank. At the Museo de Arte Moderno de Bogotá (MAMBO), she founded the influential School of Guides, a pioneering program for museum education that trained figures who would later become leading artists and curators. From 1989 to 2004, she served as chief curator of the Museo Nacional de Colombia, where she reorganized the permanent collection and helped redefine the country’s historical narrative through art.

International recognition came steadily. Her work appeared in Documenta 14, the Berlin Biennale and the landmark exhibition “Radical Women: Latin American Art, 1960–1985.” Major retrospectives were held at the Pérez Art Museum Miami, the Museum of Fine Arts, Houston, and the CAPC in Bordeaux. In 2026, the Barbican Centre in London is set to host her first major retrospective in the United Kingdom.

González received numerous honors, including Colombia’s Premio Vida y Obra and honorary doctorates from the University of the Andes and the University of Antioquia. In 2025, the city of Bogotá awarded her the Civil Order of Merit, recognizing her invaluable legacy and profound influence on the nation’s cultural life.

Yet she remained skeptical of accolades. She preferred to speak of discipline, research and responsibility — and of the obligation, as she saw it, to bear witness. From a childhood habit of collecting film-star postcards to a lifetime spent gathering images of state violence, Beatriz González devoted herself to the stubborn preservation of memory and to an unapologetic voice in Colombian contemporary art.

Read the Banco de la República’s tribute (in Spanish) to Beatriz González, written by Claudia Cristancho Camacho of the Cultural Section and Art Collection. 

https://www.banrepcultural.org/noticias/despedimos-la-maestra-beatriz-gonzalez-figura-esencial-del-arte-y-la-cultura-en-colombia

The US Animal and Plant Health Inspection Service (APHIS) has authorized the entry of Colombian shell eggs destined for industrial processing, according to an announcement made by Diana Marcela Morales Rojas, Minister of Commerce, Industry and Tourism (MinCIT). This decision expands the export capacity for Colombia’s poultry sector by allowing the product to enter the US market without requiring additional import permits or sanitary certificates from the Colombian Government.

The authorization by APHIS follows technical and commercial discussions between US and Colombian regulatory bodies. Minister Morales Rojas stated that the outcome enables the poultry industry to expand its presence in international markets and integrate into higher-standard value chains.

The regulatory modification is the result of collaboration between the Government of Colombia, the Instituto Colombiano Agropecuario (ICA), the Ministry of Commerce, Industry and Tourism, the Embassy of Colombia in the United States, and the Federación Nacional de Avicultores (Fenavi), the trade association representing the poultry sector.

Six US facilities have been designated to receive the Colombian shell eggs for processing. These plants are situated in the states of New York, Pennsylvania, New Jersey, Arkansas, and Georgia. The direct entry authorization for industrial use simplifies the logistics and required sanitary compliance for the export of the product.

Above photo: Colombia’s Minister of Commerce, Industry and Trade, Diana Marcela Morales (courtesy MinCIT)

For a literary festival, silence can be more revealing than speech. The decision by three writers to withdraw from the 2026 Hay Festival in Cartagena over the presence of María Corina Machado, this year’s Nobel Peace Prize laureate and the most prominent figure in Venezuela’s democratic opposition, has exposed a paradox at the heart of contemporary literary culture: a professed devotion to free expression that falters when confronted with an inconvenient voice.

Hay Festival Cartagena, now in its 21st edition, is scheduled to take place from 29 January to 1 February 2026, with parallel events in Barranquilla, Medellín and a special edition in Jericó, Antioquia. Founded three decades ago in Wales and once described by Bill Clinton as “the Woodstock of the mind,” Hay has built its global reputation on the premise that literature flourishes in the presence of disagreement. Its stages have hosted figures as diverse – and divisive – as Salman Rushdie, Jonathan Safran Foer and David Goodhart, writers whose ideas have unsettled orthodoxies across continents.

Yet in Cartagena, dialogue has been recast as contamination.

The Colombian novelist Laura Restrepo, the Barranquilla-born writer Giuseppe Caputo and the Dominican activist Mikaelah Drullard announced they would not attend in protest at Machado’s invitation. Restrepo, winner of the 2004 Alfaguara Prize, had been scheduled to participate in several events, including a conversation with Indian novelist Pankaj Mishra and a session devoted to her most recent book, I Am the Dagger and I Am the Wound. In a public letter addressed to festival director Cristina de la Fuente, Restrepo described Machado’s presence as “a line” crossed.

“I must cancel my attendance at Hay Festival Cartagena 2026,” Restrepo wrote. “The reason is the participation of María Corina Machado, an active supporter of United States military intervention in Latin America.” Granting her a platform, Restrepo argued, amounted to facilitating positions hostile to regional autonomy.

Caputo echoed his reasoning on social media, announcing that “in the current context of escalating imperial violence, it is better to withdraw from a festival taking place opposite the bombarded waters of the Caribbean Sea.” Drullard, five days earlier, said she could not attend an event that “supports pro-genocide and interventionist positions through the mobilisation of those who promote them,” citing Machado’s proximity to the administration of US President Donald Trump.

What remains striking, however, is not merely the severity of these accusations but their selectivity. None of the boycott statements devotes comparable moral energy to denouncing the documented human rights abuses of Nicolás Maduro’s regime: arbitrary detentions, enforced disappearances, torture of political prisoners, or the systematic dismantling of democratic institutions. One is left to ask whether the authors’ moral outrage extends to the lived realities of Venezuelans themselves, or whether it finds expression only when filtered through the optics of geopolitics.

The irony is sharpened by the fact that the same US administration helped secure Machado’s escape from Venezuela on December 8, enabling her to arrive in Oslo hours after her daughter Ana Corina Sosa received the Nobel Peace Prize on her behalf. “When the history of our time is written, it won’t be the names of the authoritarian rulers that stand out – but the names of those who dared resist,” noted the Nobel Foundation. 

The arguments from Machado’s detractors  warrant scrutiny – and above all, debate. What they do not justify is refusal from Latin America’s self-entitled literati. A boycott replaces argument with absence, moral reasoning with pantomime. It is a gesture that confers ethical purity upon the boycotter while foreclosing the very exchange that literature has traditionally claimed to defend. This is the “line” that cannot be crossed.

The Hay Festival’s response has been characteristically diplomatic In a statement following the cancellations, organisers reaffirmed their commitment to pluralism: “We reaffirm our conviction that open, plural and constructive dialogue remains an essential tool for addressing complex realities and for defending the free exchange of ideas and freedom of expression.” They stressed that Hay “does not align itself with or endorse the opinions, positions or statements of those who participate in its activities,” while respecting the decisions of those who chose not to attend.

That insistence on neutrality, however, also reveals a deeper unease. If a literary festival must repeatedly assert its impartiality, it may be because neutrality itself has become suspect. Increasingly, festivals are asked to function as courts of moral arbitration, conferring legitimacy on some voices while quietly disqualifying others. The result is not a more just cultural sphere, but a narrower one—policed less by argument than by consensus.

The controversy has unfolded at a particularly volatile moment for Venezuela’s eight-million diaspora. Machado’s invitation coincides with a renewed escalation in US pressure in the Caribbean Sea. On Tuesday, President Trump ordered a “total and complete blockade” of all sanctioned oil tankers entering or leaving the country, targeting Caracas’s principal source of revenue. His administration also designated Maduro’s government a Foreign Terrorist Organization, accusing it of using “stolen US assets” to finance terrorism, drug trafficking and organised crime.

“Venezuela is completely surrounded by the largest armada ever assembled in the history of South America,” Trump wrote on Truth Social. “It will only get bigger, and the shock to them will be like nothing they have ever seen before – until such time as they return to the United States all of the oil, land and other assets they previously stole from us.”

Against this backdrop, Machado’s high-profile presence at Hay has acquired a symbolic weight that far exceeds literary stages. Yet it is precisely at such moments that intellectual forums are tested. Fiction, after all, teaches empathy, complexity and the capacity to hold contradiction without retreat. To boycott rather than engage is to abandon that lesson – and, with it, democratical ideals.

The reputational cost to Hay Festival Cartagena may prove lasting – not because Machado was invited, but because the limits of reason and tolerance have been publicly exposed. A gathering that once prided itself on hosting difficult conversations now finds itself unsettled by the very principle on which it was founded.

And there is a final inflection. If Hay’s commitment to dialogue is grounded in a leftist agenda – if certain voices render discussion impossible – then Machado herself should reasonably question the value of her remote participation at the festival on January 30, for a scheduled conversation with Venezuelan journalist and former minister Moisés Naím.

In Cartagena, it is not Machado’s words that should concern audiences, but the intellectual impoverishment by those who chose not to speak to her at all.