Mateo López

Mark Rappolt fills in the blanks left by the Colombian artist

By Mark Rappolt

Mateo López, Nowhere Man, 2011. Photo: Oscar Monsalve. Courtesy Casas Riegner, Bogotá Mateo López, Casa Desorientada (Disoriented House – Furniture and Objects), 2013 (installation view, 43rd Salón (Inter)Nacional de Artistas, Medellín, 2013). Photo: Julián Roldán. Courtesy Casas Riegner, Bogotá Mateo López, Casa Desorientada (Disoriented House), 2013. Photo: Julián Roldán. Courtesy Casas Riegner, Bogotá Mateo López, Casa Desorientada (Disoriented House), 2013. Photo: Sebastiano Pellion. Courtesy Casas Riegner, Bogotá

Every art critic’s favourite map is the Bellman’s Map of the Ocean, which appears as a navigating tool onboard a ship in Lewis Carroll’s ‘The Hunting of the Snark’ (1874–6). ‘He had bought a large map representing the sea,’ Carroll’s rhyme goes, ‘Without the least vestige of land: / And the crew were much pleased when they found it to be / A map they could all understand.’ The map turns out to be a blank piece of paper, a…

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