*Leyla Cárdenas Campos . 2023-


-Your hands hold fragments of a wall, a wall from an 1880s house built in Bogotá during the Republican Period. These fragments can be read as puzzle pieces of a nation's multiple failed attempts to reconstitute itself, or as a door that enables traveling through time.-

Excision_ a project for Art Positions. Galería Casas Riegner
Motto Distribution

☞☞☞☞Essay by Natalia Gutierrez in ArtNexus 121

TLmag #30 Archéologie, Art contemporain & Design /Archæology Now in Contemporary Art & Design
Autumn–Winter 2018
PDF Article

Clémentine Marcelli. Sculptures of ruins- Digging architecture to tell Bogotá’s story. PDF Article

Sección Creación Revista dearq. Universidad de los Andes Número 23 y portada en la Edición #22- 2018

Home - signaling a dwelling, residence or place of origin - embodies one of the most basic concepts for understanding an individual or group within a larger physical and social environment. Yet home has been a little noted, although prevalent, feature in art since the 1950s, a period in which artists challenged the traditional "object" of the visual arts through the use of material and media culture, new forms, and performative actions and processes. This volume explores works by diverse U.S. Latino and Latin American artists whose engagement with the concept of "home" provides the basis for an alternative narrative of post-war art. Their work brings together an impressive array of formal languages, conceptual strategies, and art historical references with the varied social concerns characterizing both the postwar period in the Americas and an emerging global economy impacting day-to-day life.

The artists featured in this volume engage home as both concept and artifact. This can be seen in the use of building fragments or excisions (Gordon Matta-Clark, Gabriel de la Mora, and Leyla Cárdenas)*

Home-So Different, So Appealing. Edited by Chon A. Noriega, Mari Carmen Ramírez, and Pilar Tompkins Rivas. [Excision (2012) on the cover of the catalog]. Los Angeles County Museum of Art (LACMA) - UCLA CSRC 2017.

Building as ever - II California Pacific Triennial. Curator Cassandra Coblentz. Orange County Museum of Art. CA-USA

Saber Desconocer. 43 Salón (inter)Nacional de Artistas. Medellín 2014
Arte-sur/ Collective Fictions, Andrew Bernardini. Le Magazine du Palais de Tokyo, Summer 2013.
Removido (2013) in Beatrice Ferrara ́s essay part of The Ruined Archive (edited by Iain Cham- bers, Giulia Grechi and Mark Nash). Milano: Politécnico di Milano DPA, 2013.

LARA (2012), authors Jose Roca, Alexia Tala, Asiaciti Trust
La cooperativa,
Catálogo de beca de investigación curatorial para los Salones Regionales de Artistas (zona centro), Ministerio de Cultura de Colombia (Colectivo La Cooperativa)
 VOYAGE l VOYAGE (2012) un art contemporain déboussole, Albertine de Galbert, Carolina Ariza. Maison de l’Amérique latine, Paris

work used in other publications:

Excision (2012) on the cover of the catalog Home-So Different, So Appealing. Los Angeles County Museum of Art (LACMA) and MFAH, 2017.
Withholding (2006) on the cover of: The Imagined Globalization by Nestor Garcia Canclini. Duke University Press, 2014.
The Anomie of the Earth: Philosophy, Politics, and Autonomy in Europe and the Americas, 2015.
Arte-sur/ Collective Fictions, Andrew Bernardini. Le Magazine du Palais de Tokyo, Summer 2013.

Revista Cambio 2010

Art Nexus 2010