Mateo López
21 – 30 July, 2022

Films are viewable from Thursday 21 July at 8am GMT.  All films will remain active until end of day Saturday 30 July.

“A way to repair the social fabric is with trust towards one another. This is a horizontal dialogue that can be achieved through artistic work, disarming the stereotypes of the artistic object, inviting us to its activation and participation instead. I believe the artist can break boundaries through the extension of practices and permeate other forms of thought. Artists are citizens and can address issues of equality, diversity and gender through means of collaboration. We need to change the discourse from the singular political to the plural commitment for empathy and respect”

– Mateo López

Artist courtesy Travesía Cuatro

13′ 45″
HD colour video animation with sound

Cutouts and fragments from the collage works are digitally rendered with each distinct component moving at its own pace, in conversation with the work’s textual elements. A dancer is filmed interacting with the drawings.

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The film is scored through a combination of a synthetic sound produced by a professional drum set alongside the soulful sound of the local Tambora drum, creating a melody that is energetic and charged.

Disclose draws from López’ research on theatre, through the work of Russian theatre producer Vsevolod Meyerhold, who focused on learning gestures and movements as a way of expressing emotion outwardly. Meyerhold sought to connect bodily expressions with specific emotions and popularized principles of biomechanics which proposed that the performer’s psychological state was inextricably linked to their physiological state.

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Cuerpos Desobedientes
4′ 28″
Colour video with sound
Recording of a performance, Bogotá

Titled Cuerpos Desobedientes (Disobedient Bodies) this film depicts performative interventions López composed and directed in various spaces within Bogotá’s Manzana Cultural del Banco de la República in 2020, when the museums and libraries were uninhabited due to the pandemic.

16′ 22″
Colour video, no sound
Recording of performance, Travesia Cuatro, Madrid

A performance that activates the sculpture at different times throughout the exhibition adds a new kinetic dimension to the work.

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In it, two dancers interpret words and phrases screen printed on the pieces of fabric. Each text corresponds to an instruction to perform a body movement or sound, which turn the sculpture into a stage set for a piece of improvisation and thus connects with the Brazilian neo-concrete tradition of the ‘open work of art’, leaving it to chance. By giving this autonomy to the work of art, as well as some kind of participation to the viewer, the artistic experience is not limited to the object, it is expanded to the moment of encounter between the work and the participant, generating an intermediate space of subversion.

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Partitura Visual Score
Colour video, no sound

11′ 35 ”
Colour video, no sound

Cube Stretching
5′ 14″
Black and white video, no sound


The practice of Mateo López (Bogotá, 1978) speaks of cartographies, journeys and construction processes while revolving around the themes of chance, encounter, time, and the connection of events that take place in our daily life. His work traces a conceptual approach and expands from drawings to installations, architecture, films and sculptural coreographies. He reproduces memories and converts them into something susceptible to displacement through the creation of portable modules that host different collections of objects.

Recent solo shows include: Círculo de Palabras, Casey Kaplan, New York (2022); Disclose, Goodman Gallery, Cape Town (2022); Si Pero No, Casa Republicana, Museo Banco de la República, Bogotá (2021); Hesitante, Galeria Luisa Strina, São Paulo (2021); Make Do And Mend, Goodman Gallery, London (2020); Escultura de viaje (with Bruno Munari), Travesía Cuatro, Mexico City (2020); Ruta del Castor, Mexico City (2020); Bodega Piloto, Bogotá (2019); N+1, Travesía Cuatro, Madrid (2019); Play, Casey Kaplan, New York (2019); XYZ, Travesía Cuatro, Guadalajara (2018); Blueproject Foundation, Barcelona (2018); Undo List, Drawing Center, New York (2017); Galeria Luisa Strina, São Paulo (2016); Casey Kaplan Gallery, New York (2015); Galeria Luisa Strina, São Paulo (2011).

Recent group shows: Goodman Gallery, Cape Town (2019); KMAC Museum, Louisville (2019); Museo de Arte Moderno de Medellín, (2019); Contemporary Art from the Colección Patricia Phelps de Cisneros, Puebla (2019); Museo de Arte Moderno de Bogotá (2018); Museo de Arte de la Universidad Nacional de Colombia, Bogotá (2018); Museum of Contemporary Art, Detroit (2017); MuBE, São Paulo (2017); MoMA, New York (2017); MANA Contemporary, Jersey City (2016); UCCA Ullens Center for Contemporary Art, Beijing (2016); Drawing Room, London (2015).

Major awards and residencies include the Rolex Mentor and Protégé Arts Initiative, William Kentridge’s Protégé, Geneva Switzerland in 2012 and the Gasworks Residency Program, London, UK in 2010, which was followed by an exhibition.

Collections which his work is part of include: MoMA Museum of Modern Art, USA; CACI Centro de Arte Contemporânea Inhotim, Brazil; Banco de la Republica, Biblioteca Luis Ángel Arango, Colombia; CIFO Cisneros Fontanals Art Foundation, USA; Coleção Patricia Phelps de Cisneros, Venezuela and USA; Coleção Berezdivin, Puerto Rico.

Mateo López lives and works in New York, USA.