Andrés Donadio: Visiones del Salto
Words and Photography by Andrés Donadio
An Article published in The Earth Issue 002: IMPACT
Born in Colombia in 1986, Andrés Donadio is a visual artist who focuses on exploring the representation of contemporary landscapes. He is also interested in the limits of photography and the expanding possibilities of the digital age. Donadio completed his MFA in Photography at the National School of Photography, Arles in 2012 and a Master in Arts and Culture at Novia University in 2016. He has exhibited his work in France, Italy, Belgium, Netherlands, Lithuania, Latvia, Japan, Colombia, among others. He is currently based between Paris and Arles. He is represented by the L'Hoste Art Contemporary Gallery.
The Salto de Tequendama (Tequendama Fall) is an iconic place of theColombian landscape and is part of the collective mind of its inhabitants. The Salto was originally a place of worship for the pre-Hispanic indigenous groups. During past centuries it was one of the most emblematic symbols of the country, before being confined in oblivion for several decades at the end of the twentieth century. It is a very complex place, full of history and legends. It is a place almost impossible to represent, where premises and hypotheses coexist in the middle of an indistinguishable fog. Following the intrigue of this deep fog, Donadio’s images seek to present a personal perspective on this majestic but misunderstood territory. A place that is also symbolic of the situation of the country: a beautiful place, which ended up being emblem of decadence and which is currently in a long process of environmental recovery.
In “Niebla: Visiones Del Salto” we find archive images that show, but also question, various representations of this multi-faceted place. These images find themselves stifled in a vast cloud of little incidents, impossible to dissipate, which surprise and confuse at the same time. Rather than generating new knowledge, the work represents an unfinished exploration of the nebulous enigma surrounding the Salto. The author hopes the impossibility of representation acts here as a counterpoint that can lead the viewer to debate preconceived ideas that remain anchored in the vast collective imagination related to this Colombian landmark.