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




Carlos Jiménez, Cali, 1999

Alicia Barney’s installation, enigmatically titled El sujeto como tal  [The Subject as It Is], is an excellent display of the of the aggressive, provocative disposition that becomes more and more evident in the work of this artist. In this piece she moves away from the pressing ecological concerns, to immerse herself in cultural criticism. Specifically, concerning so-called collective imaginaries, composed of representation and recurrent iconographic motifs which appear among entire strata of society. It seems that what interests Alicia Barney the most are things marked by their banality.


Banality, however, points in many directions, which go far beyond the supposed or real candor of children’s toys or the insignificance of costume jewelry or Christmas ornaments. Hannah Arendt, who had a deep knowledge of horror through her experience of Nazism, denounced “the banality of evil” as one of its features. And it is precisely this double-terribleness that Alicia Barney has put into action in her installation in the Sixth Art Biennial of Bogota at the Museum of Modern Art. In its four corners were four powerful columns of red silk. Above them, as if forming a spider of Venetian glass tears, hung one hundred filaments with hypodermic needles. Below them was a large container with glass boxes full of broken crystals floating on liters and liters of blood. The blood became rotten and full of maggots and the stench was unbearable throughout the Museum. It became so bad that the directors threw out the blood and closed the installation. Impressive and revealing.