00:03Because I believe that Bogotá is in a moment in which the art world is looking at,
00:09we have artists very good, galleries with very good proposals,
00:13the market of art in Colombia is exploding
00:16and an art festival like the Odeon, which is an alternative festival,
00:20which is a young festival, contemporary festival,
00:23gives a lot of galleries and artists to see their work
00:27that in other ways they didn't have a way to do it.
00:30In Arbor, what we offer to the buyer through our galleries, projects and references
00:37is a certain level of quality and guarantee
00:41that these projects were selected with very careful
00:45and that it is very probable that they are going to be in the time.
00:48Why did we need a space where people would go to see works
00:52and buy them at a price really accessible to the people?
01:01The most difficult thing in the festival,
01:03for our model, where we don't have to pay the artists
01:05for the exhibition space or the exhibition
01:08or for the sale of works,
01:09is to look for the private company to help us
01:12that the model is viable.
01:13Nothing has been difficult.
01:14It requires a lot of work, a lot of attention.
01:23With pedagogia.
01:24I think that what we need to do to do here is what we need to do
01:29is a learning of what are the best ways of collecting,
01:34what is the role of the gallery in the market of art,
01:37what is the importance of the career of artists.
01:39I think the art has to go as one goes as other artists,
01:43like when one goes to cinema, when one buys a book,
01:45when one goes to a stand-up comedy,
01:48when one goes to theater.
01:50A cinema one has to go as the art spontaneously
01:52and in that way the collection is going spontaneously.
01:58The main teaching is that it is very valuable
02:02to make a festival not only from the commercial side,
02:06but also to spread other types of spaces,
02:11such as Articularte, Articularte,
02:15such as the academic forum,
02:16where we create a great city event
02:19and where we can involve people
02:22much more beyond the commercialization of art.
02:26Director of Art,
02:28what are you doing now?
02:30My job soñado,
02:33aparte de dirigir la feria del millón,
02:39seguir dirigiendo la feria del millón que crezca,
02:42que yo creo que se expanda a otras plataformas.
02:56Gestora cultural.
02:58La otredad, tal vez es un término muy académico que lo entiendo, pero no me gusta.
03:06Una palabra que no me gusta, no, yo diría que en general no me gusta cuando los curadores
03:12o los mismos artistas o los coleccionistas usan palabras, digamos, demasiado elocuentes
03:17para describir algo y esas palabras hacen que el público en general se desentienda
03:22de lo que está pasando en el arte porque no entienden lo que dice o porque es muy complicado.
03:30El año pasado en la Feria del Millón a una artista que se llama Catalina Moreno
03:34la compré en 700 mil pesos y la exhibo orgullosa en la sala de mi casa.
03:40Acá yo creo que no me daría un poco de miedo porque hay historias de fantasmas que todavía rondan la
03:48zona.
03:49Ojalá en la Feria y en la sala de mi casa Oscar Muñoz, el artista colombiano que para mí es
03:54el que más me gusta.
03:55A mí me gusta el teatro como está así porque me parece que le permite a los artistas y a
04:00todas las personas que intervienen
04:02y que visitan este espacio de conocer una arquitectura que no se ve en muchos otros espacios de la ciudad.
04:08El color rojo.
04:12El azul.
04:21No odio ningún color.
04:23El café.
04:26Según mi esposa porque cada vez que me lo pongo me veo peor de lo que me veo siempre.
04:29No.
04:30No.
04:31No.
04:32No.
04:34No.
04:35No.
04:35No.
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