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Colombian visual artist From Wikipedia, the free encyclopedia
Astrid Liliana Angulo Cortés (born 1974 in Bogotá) is a Colombian visual artist with a degree in sculpture from the National University of Colombia, an MFA from the University of Illinois (Chicago) and a Master’s in Anthropology from the University of Los Andes (Colombia).[2] Through her artistic practice, she uses the lens of gender, race and identity to explore representations of the black woman in contemporary culture.[3]
Angulo Cortés been inclined toward art education ever since she began her secondary studies. As a Professor of Studio Arts and a practicing artist, Angulo Cortés has researched and reflected for over 20 years on the Afro-descendant experience, as well as the lack of debate surrounding the images and stereotypes that have been built around Afro-descendant identity.[4]
Liliana Angulo Cortés has concurrently developed her work as a visual artist, her work as a teacher and also as an advocate for memory and art from the Afro-Colombian community.[5] From 2004 to 2007, she worked as a teacher at the National University of Colombia, and at the Jorge Tadeo Lozano University in Bogotá. She worked as a visual and plastic arts consultant for various cultural foundations. In 2014, she held the position of Secretary of Culture, Recreation and Sports for the city of Bogotá.[6] In 2015, she founded the Afro-Colombian artist collective Agua Turbia.[7] Currently, Liliana Angulo Cortés is the Deputy Director of the Arts of the District Institute of the Arts for Bogotá.[8] She has organized several curatorial endeavors and given numerous lectures at artistic institutions both nationally and internationally.[9][10][11]
Angulo Cortés has spent time locating files on the resistance, reparation and the presence of the Afro-descendant population in Colombia in order to account for the power dynamics surrounding the image, territory, race and body of black women.[3] In doing so, she has developed a systematic reflection regarding the tensions arising from the intersection of gender and race in Colombian society.[12]
Liliana Angulo Cortés also uses the relationship with others as a collective exercise that opens up a space of performative power linked to the care of oneself and the community. The collective experience as a labor of rewriting memory.[13]
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