‘It smells like my ranch!’ Diva of dirt Delcy Morelos and her amazing 30-tonne earthworks

The article profiles Colombian artist Delcy Morelos and her immersive earthwork installations, focusing on two major works: 'The Womb Space' in Mexico City, which has drawn over 60,000 visitors in its final month, and 'Origo', a new 24-metre-wide outdoor pavilion opening at the Barbican in London. Morelos creates vast soil sculptures sourced from specific regions, evoking sensory experiences of smell, touch, and memory, and invites visitors to contemplate their connection to the earth. The piece includes her reflections on Andean cosmovision, the sacredness of nature, and her 14-year artistic inquiry into soil as a humble yet life-sustaining material.

A Poetic and Material Institutional Critique: Gala Porras-Kim at kurimanzutto and the Venice Biennale

UNA CRÍTICA INSTITUCIONAL POÉTICA Y MATERIAL: GALA PORRAS-KIM EN KURIMANZUTTO Y LA BIENAL DE VENECIA

Colombian artist Gala Porras-Kim presents her first solo exhibition at kurimanzutto gallery in Mexico City, titled "Espacios del futuro replican los del pasado" (2026), alongside her participation in the 2026 Venice Biennale. The show critically examines how museum conservation protocols transform objects by detaching them from their original material, ritual, and spiritual contexts. Central to the exhibition is "The Motion of an Alluvial Record" (2024), a greenhouse that recreates the humidity and temperature of Yucatecan mangroves, allowing clay and sediment to shift continuously, resisting the linear, stratified time of Western archives and evoking cyclical Maya cosmologies. Another series, "Uprooted" (2026), reproduces fragments of looted Teotihuacan murals from Techinantitla, now held by the Metropolitan Museum of Art and the Ethnological Museum of Berlin, reinstalling them near the floor to restore their original architectural scale and orientation.

NICOLÁS GÓMEZ ECHEVERRI: “LA TRASCENDENCIA DEL MUSEO ES VULNERABLE A LA IMPOSICIÓN DE MODAS POR PARTE DEL ALGORITMO”

Nicolás Gómez Echeverri, director of the Unidad de Artes y Otras Colecciones at the Banco de la República de Colombia, reflects on the challenges facing museums in Iberoamérica in an interview published for International Museum Day. He oversees institutions including the Museo de Arte Miguel Urrutia (MAMU), the Museo Botero, and the Casa de Moneda. Gómez Echeverri describes the museum as a "radar" that captures decentralized artistic practices and integrates them into collective narratives, while emphasizing the need for mediation, public debate, and long-term cultural projects amid economic constraints and the pressures of digital immediacy.