How to create an independent space in Bogotá?

BOGOTÁ | The first local event hosted by OtherNetwork as part of its international cultural programme in 2023 took place on 13 July at Espacio Odeón – an experimental art space in a former theatre building – in which six invited guests spoke about their experience in creating, directing, or managing independent cultural projects in the Colombian capital. As an allied event to the panel discussion, an artistic screening of ‘La fiesta de los hogares colombianos’ (2018) by Henry Palacio and Susana Oliveros took place afterwards.

The event was moderated by Felipe Villamil from the OtherNetwork research team, featuring Valeria Giraldo (Co-director of Proyecto Relámpago), Rafael Díaz (Artist and Director of Más Alla), Juan Sebastián Peláez (Artist and Manager of projects including El Bodegón, Miami, Carne), Tatiana Rais (Director of Espacio Odeón), Andrés Moreno (Co-director of Otro Espacio) and Jenny Díaz (Co-curator of Venga le digo).

The concept of independence, as the panellists collectively observed, is an ever-changing notion. In the past, it was relatively clear-cut, signifying a detachment from market influences and institutionalism. However, the boundaries have become increasingly blurred. Independence now hinges on the freedom to create, the ability to transform resource precarity into catalysts for experimentation and creativity, and the transformative and adaptable capacity of a project. In this context, independence is based on a system of collaborative networks, favours, and joint work that stems from necessity.

“There’s the question: are we independent of what, or independent from what? Especially when these spaces end up depending on a lot of people, infrastructure, and an ecosystem. I feel that the word ‘independent’ might say a lot but, in the end, it doesn’t say anything, and everything can fit within independence, yet nothing is independent.”

– Tatiana Rais

With this in mind, one prominent theme to emerge from the discussion was the idea of interdependence rather than independence in these projects. Panellists stressed the importance of collaboration, concluding that independent projects exist not in opposition to institutions, but in a complementary relationship. In this sense, the ecosystem of independent projects is perhaps not anti-institutional, but rather para-institutional. Similarly, the term “parasitism” was explored as a dynamic strategy within independent projects that allows artists to adapt and thrive under precarious working conditions.

The only question posed by the audience at the end of the panel discussion sparked a brief debate on the concept of gentrification and the potential role that projects led by the panellists could play in these processes in the case of Bogotá. The panel’s stance on the issue pointed in two directions: firstly, that the agency of these projects is minimal when it comes to measuring the possible impact they can have on the gentrification of a territory. Secondly, there was emphasis on the need to contextualise the term gentrification within the Colombian context, to avoid imprecise use.

Overall, the panellists agreed that independent projects often emerge from a variety of circumstances, including necessity, opportunity, chance or desire. Ultimately, it all comes down to the network of individuals who keep them going. Juan Sebastián Peláez highlighted the importance of personal connections, remarking:

“One thing that runs through all the projects is the desire to be with certain people […] It’s about affection, about people you care about or who interest you, or with whom you want to learn. It’s the willingness among these peers to talk, discuss, think, argue, dance, kiss – all the things that you go through when you have relationships with people, and I think that distinguishes this type of project.”