This interview is published in the book Orígenes del Arte Conceptual en Colombia [Origins of Conceptual Art in Colombia] (1999), a compilation of conversations and essays that attempts to provide a detailed account of the emergence and development of Conceptual art in Colombia. At the time of its publication, the book was awarded a national prize for historical, theoretical, or critical writings by researchers, historians, and artists active in the field of Colombian art.
El Sindicato (from the city of Barranquilla, Colombia) was an experimental art group active from 1976 and 1978, through its final show, entitled Corraleja, was held in 1979, in which artist Cristina Franco participated. After having shared first prize at the Twenty-Eighth Salón Nacional (1978) with Ana Mercedes Hoyos (b. 1942), the group disbanded due to a series of disputes between its members, who no longer shared the same interests.
In early 1977, the members of the group composed a Testimonio y manifiesto [Testimony and Manifesto], a text that was distributed among their close circle of friends. The aim of the text was to share the goals, interests, and motivations that had developed as they worked together. The text, Testimonio y manifiesto de El Sindicato, [doc. no. 1099501] speaks of the importance of actions over words.
El Sindicato called itself a pioneer in Conceptual art and collective work in Colombia. Though it received the support of important local critics, the group’s resistant stance did not falter during the short period it was active. Related documents include “El arte conceptual se toma el Salón Nacional” [see doc. no. 1134222] and the brief theatrical production for “El Salón dentro del Salón,” a work in several parts or spaces with a total duration of fifteen minutes [see doc. no.1132064].
