About Alicia Barney's work


Art for the Eighties

Álvaro Barrios | 1980


Alicia Barney: the Alternative Landscape

Miguel González | 1982


Paradise Lost

Álvaro Herazo | |1982


On the regional process of the bio-vanguard

José Hernán Aguilar | 1984

On the regional process of the auto-bio-vanguard

José Hernán Aguilar | 1985


About “Aves en el cielo" (Birds in the sky)

José Hernán Aguilar | 1993


Alicia Barney – Aves en el cielo (Birds in the sky)

María Teresa Guerrero | 1993


A Text Concerning the “Pulsiones” Exhibit at La Tertulia Museum

Miguel González | 1993


Text Concerning “The Behavior of the Landscape in the Seventh International Art Festival of Cali”

Miguel González | 1995


Zoom Alicia Barney

Carlos Jiménez | 1999    


A conversation with Alicia Barney Caldas

Revista Errata #10 | 2014


Yumbo, Alicia Barney

María Belén Sáez de Ibarra | 2014


The Sect of Forgotten Artists

Lucas Ospina | 2014


A Conversation with Carmela

Carmen María Jaramillo | 2016


The Phylogenesis of Generosity

Recollecting and Connecting Overlooked Art of Cali/Cali: Alicia Barney and Women Environmental Artists of California    

Gina McDaniel Tarver | 2017


“On the regional process of the bio-vanguard” 


José Hernán Aguilar, Bogotá, 1984

The process carried out in Río Cauca [Cauca River] updates our idea of a better or worse future; the ascetic Plexiglas pools denounce a reality that is no less rigorous. The denunciation is visual and “artistic,” but serious. Along with Adolfo Bernal’s anonymous “SOS,” the tanks of polluted water from the Cauca River constitute a call for attention to the public (whether this is the spectator or the one who receives the message); the work is art, but also acts differently: it is scientific proof, a document, and a political attitude.


However, the work is no less beautiful or attractive for all that. Responding to certain traditional aesthetic demands, Río Cauca acquires an aura of mystery that surely comes from the delicate and subtly golden tone of the water of the pools, as well as from the minimalist rigor of its design.


The impartial test tubes, which indicate the spot where each sample of polluted water was taken, reaffirm the investigative nature of the work, but also its artistic intent. Moreover, the region which Barney studies, which we might call her genetic consciousness, is presented through a drawing that seems impersonal (the hydrographic map of the river) but which in reality is just that: a drawing.