Pontífice. (Pontiff) 2022 Orange and bronze sculptures from the MUUA collection.
View of the exhibition La Vida de las Cosas Muertas. Project Mythstories
View of the exhibition La Vida de las Cosas Muertas. Project Mythstories
View of the exhibition La Vida de las Cosas Muertas. Project Mythstories
View of the exhibition La Vida de las Cosas Muertas. Project Mythstories
The Great Narco Ark. Woven tapestry and taxidermy animals from the MUUA Museum collection
Sovereignty 2022. Taxidermed Condor and bronze eagle from the MUUA Museum collection. Photo David Estrada Larrañeta
Sovereignty 2022. Taxidermed Condor and bronze eagle from the MUUA Museum collection. Photo David Estrada Larrañeta
Refugio (Shelter) (2022) Stainless steel miniature model of the Church of Bojaya, destroyed in 2002. Propane and wooden base. Resin figure taken from the mold of the Christ of Bojaya.
Refugio (Shelter) (2022) Stainless steel miniature model of the Church of Bojaya, destroyed in 2002. Propane and wooden base. Resin figure taken from the mold of the Christ of Bojaya.
Refugio (Shelter) (2022) Stainless steel miniature model of the Church of Bojaya, destroyed in 2002. Propane and wooden base. Resin figure taken from the mold of the Christ of Bojaya.
Pieces: Pueblo (2021) Bronze sculpture, stone and propane and White Chapel (2013). Remains of police car, carved wood, brick and sound system.
La Logia. Traditional marimba from the Colombian Pacific area and mechanic system. The piece plays a mourning melody. Foto: David Estrada Larrañeta
XIX Century weapons from the civil war era in Colombia, collection of the MUUA Museum and Castro’s piece Democracy, confiscated knifes by Bogota’s police
View of the exhibition La Vida de las Cosas Muertas.
View of the exhibition La Vida de las Cosas Muertas.
Colombia. Gold Plated human teeth on corn cub
Penetración (2019). Laser-cut panels embedded on the wall. Based on the engraving the Silver Mines of Potosi in Bolivia, by Theodore de Bry (1602)
Watercolors of the series Breathing Wound, which depict self sustaining and useless jobs from the streets of South America. On it, Carlos Castro uses the style of chroniclers from the XIX century. The watercolors are made on paper from the XIX and early XX century.
View of the exhibition La Vida de las Cosas Muertas.
Left, Familia (2015). Wallpaper printed with blood given by the family members of the artist. Right, Mother (2012) Photograph of the artist with his newborn daughter
Encuentro (2022) (Encounter) Authentic XIX century reduced human head and contemporary anatomical model.
Learning to Forget (2022) Stage with pre-Columbian figures from the MUUA Museum collection watching fragments of the European movie Cannibal Holocaust (1981)
Surreptitious.
Recycler’s cart and diorama depicting a pre-columbian tomb
The Black Box (2017) Burnt bus, video projection. 7 min. Collaboration with Andres Borda and Daniel Castro
The Black Box (2017) Burnt bus, video projection. 7 min. Collaboration with Andres Borda and Daniel Castro
Remorses, installation composed of more than 200 pieces that include small paintings, found objects and collages. Installation view at the MUUA Museum Medellin
Remorses, installation composed of more than 200 pieces that include small paintings, found objects and collages. Installation view at the MUUA Museum Medellin
