Camilo Restrepo

Mera Calentura

November 11 – December 16, 2017
Opening Reception: November 11, 6-8PM

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El espectador, calendar, narco, narco art, Camilo Restrepo, Steve Turner, Los Angeles, Medellín, Colombia, Colombian artist, Tight Rope, pastel on paper, contemporary colombian artist, contemporary art Colombia, contemporary art gallery los angeles
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Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo. Mera Calentura, Installation view, Steve Turner, Soothsayer, Installation view, Steve Turner, November 2017

Camilo Restrepo.
Mera Calentura 2, 2017. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 x 248 inches (147.3 x 629.9 cm)

Camilo Restrepo. Mera Calentura 2, 2017. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 x 248 inches (147.3 x 629.9 cm) (detail)

Camilo Restrepo. Mera Calentura 2, 2017. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 x 248 inches (147.3 x 629.9 cm) (detail)

Camilo Restrepo. Mera Calentura 2, 2017. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 x 248 inches (147.3 x 629.9 cm) (detail)

Camilo Restrepo. Mera Calentura 2, 2017. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 x 248 inches (147.3 x 629.9 cm) (detail)

Camilo Restrepo. A Land Reform 15, 2017. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 45 3/4 x 94 inches (116.3 x 238.8 cm)

Camilo Restrepo. A Land Reform 15, 2017. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 
45 3/4 x 94 inches (116.3 x 238.8 cm) (detail)

Camilo Restrepo. A Land Reform 15, 2017. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 
45 3/4 x 94 inches (116.3 x 238.8 cm) (detail)

Camilo Restrepo. A Land Reform 15, 2017. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 
45 3/4 x 94 inches (116.3 x 238.8 cm) (detail)

Camilo Restrepo. Bowling for Medellín 3, 2016. Ink, water soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 1/2 x 106 1/2 inches (148.6 x 270.5 cm)

Camilo Restrepo Bowling for Medellín 3, 2016. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 1/2 x 106 1/2 inches (148.6 x 270.5 cm) (detail)

Camilo Restrepo.Bowling for Medellín 3, 2016. Ink, water-soluble wax pastel, tape, newspaper clippings, glue, stickers and saliva on paper. 58 1/2 x 106 1/2 inches (148.6 x 270.5 cm) (detail)

Camilo Restrepo. Any September is a Black September Down Here #2 (El Colombiano), 2016. Ink, water-soluble was pastel, tape, glue, newspaper clippings, lacquer and saliva on paper. 70 x 58 inches (177.8 x 147.3 cm)

Camilo Restrepo. Any September is a Black September Down Here #2 (El Colombiano), 2016. Ink, water-soluble was pastel, tape, glue, newspaper clippings, lacquer and saliva on paper. 70 x 58 inches (177.8 x 147.3 cm) (detail)

Camilo Restrepo. Any September is a Black September Down Here #2 (El Colombiano), 2016. Ink, water-soluble was pastel, tape, glue, newspaper clippings, lacquer and saliva on paper. 70 x 58 inches (177.8 x 147.3 cm) (detail)

Camilo Restrepo.Any September is a Black September Down Here #2 (El Espectador), 2016. Ink, water-soluble wax pastel, tape, glue, newspaper clippings, lacquer and saliva on paper, 70 x 58 inches

Camilo Restrepo. A Land Reform 12, 2016. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 35 x 31 inches (88.9 x 78.7 cm)

Camilo Restrepo. A Land Reform 13, 2016. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 35 x 31 inches (88.9 x 78.7 cm)

Camilo Restrepo. A Land Reform 9, 2016. Ink, water-soluble wax pastel, tape, stickers, newspaper clippings, glue and saliva on paper. 70 x 74 1/2 inches (177.8 x 189.2 cm) (detail)

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Steve Turner is pleased to present Mera Calentura, the fourth solo exhibition by Medellín-based Camilo Restrepo. The title work, which translates to Hot Spot, is a densely rendered drawing that measures 58 x 248 inches. It displays the chaos, damage and pain inflicted by the War on Drugs, especially in Colombia. Besides being a war affecting people, the war on drugs devastates the environment. Not only does the cultivation of coca cause massive deforestation, it also results in aerial fumigation that has a lasting impact on forest re-growth and sustainability. Additionally, the narco-traffickers force the displacement of peasants in order to steal their land, which is then further degraded by palm oil plantations and livestock, thereby contributing to climate change.

The central figure in the drawing is based on the Hydra of Lerna, a mythological monster with several heads who grew two more each time Hercules chopped one off. Much like the drug traffickers, the more the Hydra is injured, the stronger it gets. Scores of other figures, drug lords and their minions, animate the hellish scene.

Restrepo’s technique reflects the theme of utter devastation: he wets the back of the drawing with his own saliva in order to soften and peel off several layers of the thick paper. This results in the drawing becoming very thin, creating damage to the surface that requires hundreds of meters of tape to be repaired. The debris created by the peelings is then glued onto the surface of the of the monster; its body is composed of layers of  paper, and like scar tissue, it points to the beast’s ability to regenerate in the same way that the War on Drugs is continually renewed and reanimated.

Camilo Restrepo (born 1973, Medellín, Colombia), earned an MFA from CalArts (2013) and a masters degree in aesthetics from the National University of Colombia (2008). He has had solo exhibitions at Steve Turner (2013, 2014 & 2015); Galería Santa Fe, Bogotá (2011); Casa Tres Patios, Medellín (2010); Galería de la Oficina, Medellín (2010) and LA Galería, Bogotá (2009). In 2010, Restrepo was nominated for the Premio Luis Caballero, the most important prize in Colombia for artists over 35.

CAMILO RESTREPO

Born 1973, Medellín

Lives and works in Medellín

Education

2013      MFA, California Institute of the Arts, Valencia, Californiz
2012      MA in Aesthetics, Universidad Nacional de Colombia, Medellín

Selected Solo and Two-Person Exhibitions

2017      Mera Calentura, Steve Turner, Los Angeles
Artissima, Torino (with Steve Turner)
2016     ArtBO, Bogotá (with Steve Turner)
              Lux Art Institute, Encinitas, California
Art Brussels (with Steve Turner)
2015     Tight Rope, Steve Turner, Los Angeles
Camilo Restrepo & Pablo Rasgado, ARCO Madrid (with Steve Turner)
2014      El Sueño de la Razon Produce Monstruos, Steve Turner, Los Angeles
2013      
This is a Wound, Not Just The Drawing of a Hole, Steve Turner, Los Angeles
               Untitled Special Projects, Miami Beach (with Steve Turner)
2011       Small figures on the ground, Premio Luis Caballero, Galería Santa Fe, Bogotá
2010      Recent works, Galería de La Oficina, Medellín
Small figures on the ground, Casa Tres Patios, Medellín
2009     
This is a pipe, LA Galería, Bogotá

Selected Group Shows


2017      UNTITLED, Miami, (with Steve Turner) (upcoming)
               Medellín, une histoire colombienne, Musée des Abattoirs, Toulouse
2016      CODE Art Fair, Copenhagen (with Steve Turner)
               Seattle Art Fair (with Steve Turner)
2015      Historias Locales / Prácticas Globales, MDE15, Museo de Antioquia, Medellín
               EXPO Chicago (with Steve Turner)
               Space Program, Steve Turner, Los Angeles\
2014      Una Linea de Povolo, FLACSO, Quito, Ecuador
               ARTBO, Bogotá (with Steve Turner)
Pinta London (with Steve Turner)
Zona Maco, Mexico City (with Steve Turner)
2013      UNTITLED, Miami Beach (with Steve Turner)
               Subrepticio, Historias Encubiertas, Galería Banasta, Medellín
               Gloria/Dinero, Galería de la Oficina, Medellín
               Uma linha de pó, Barracao Maravilha Arte Contemporanea, Rio de Janeiro
               La gente en la colección del Museo, Museo de Arte Moderno de Medellín, Medellín
2012      
Poetas en tiempos de escasez. El parqueadero – Banco de la República, Bogotá
2011       
Más allá de la Crisis, 6a Ventosul, Bienal de Curitiva, Museo Oscar Niemeyer, Curitiba, Brazil
2010     
42 Salón Nacional de Artistas, Museo Antropológico Universidad delAtlántico, Barranguilla
Premio Bienal de Artes Plásticas y Visuales Bogotá 2010, Fundación Gilberto Alzate Avendaño, Bogotá
               Casa Tres Patios – No Soul for Sale, Turbine Hall, Tate Modern, London

Awards and Distinctions

2013      Fulbright Grant, United States
2012      XXII Salón Colombiano de Fotografía, Sala de Arte Suramericana de Seguros, Medellín

Bibliography

2017      Hanson, Sarah P. “New commissions by nine artists for DiCaprio Foundation sale.” The Art Newspaper, July 20
2015      Maloney, Darby. “The L.A. Art Scene: Mega-galleries and Narco Art.”
The Frame, KPCC, September 25
               Miranda, Carolina A. “Art born of the drug wars: Camilo Restrepo on ‘narco bananas’ and pen-on-paper violence,” Los Angeles Times,                                      September 23
2014      Black, Ezrha Jean. “Pacific Standard Surreal – A wish list,” Artillery, May 8
2013      Cembalest, Robin. “Artwork on Violence in Colombia Too Dangerous for Art Fair in Miami,” ARTnews, December 4
Samuels, A.J. “When Art Gets Violent,”
Artfetch, September