Francisca Jimenez. ✷

The sum of all trees together - La suma de todos los árbole juntos -   (2020)
Freedom is being able to look at the sky without fear
La libertad es poder mirar al cielo sin miedo -






























Like a Christmas story in which some kind of magic happens, an object is thrown into the wind and comes to life.

I invited Farhad Babaei to write a story about kite flying after inviting him to fly the one I made in my residence. In the story written and narrated in Farsi, he imagines freedom by flying a kite. He describes a memory, perhaps a fiction or a dream about the relationship between wind and freedom, a child’s relationship with time and waiting, and the materialisation of desire through the experience of playing. It reminds us that there are many places in the world where looking at the sky is not an option.

The language barrier and territoriality itself are fragmented and meet each other in a single image.

This piece is part of the camp I built this year. It’s part of my project ‘The sum of all the trees together’ which was developed as part of the residency @stiftungkuenstlerdorf . A project hold with the help of my new friends.
































It was the first time something was important to me.  After nine years, I was waiting for something to happen.  My uncle said it would come before sunset, then we could go. I asked, "When's sunset?" Uncle said, "The sunset will come when the afternoon ends. When the sun goes down." He put it in the cellar to wait for sunset and the wind. I thought the wind would start when the sun went down. The wind was afraid of the sun as long as it was out. I had to wait in the yard for the sun to go down. The wind started blowing. I told my uncle, "The wind is coming." He said, "It's not the wind, it's a breeze. It's too weak." I asked, "What is a breeze?" Uncle replied, "A breeze is the child of the wind." I went into the room and fell asleep. My uncle woke me up. I opened my eyes and asked, "Has it come?" Uncle said, "Let's go." We went to the cellar and took the kite. I asked, "Is the wind blowing?" Uncle said, "Yes." I said, "Is that his child?" He said, "No, it's the wind." We went up to the roof. The wind is blowing, said Uncle. Now is the perfect time to fly. The wind touched my face. I held the kite in both hands and stood in front of it. Uncle said, "Stand back. When I say, let it go." The kite's tails flapped in the wind. Uncle opened the kite's string and looked up.  The kite slipped from my hands as the wind tried to take it. I asked, "Should I let it go?" He said, "Let it go. Stand next to me!" I let go of the kite. Its paper tails brushed my face as it flew high. I walked over and stood next to my uncle. He was holding the string and watching it. He said, "Look! You're the pilot of this kite! This string is the airplane’s steering wheel." He gave me the string, but I kept the reel. "Pull the string towards you and then let go. The kite will fly higher.” I pulled the string. The kite felt heavy. "It's heavy!" Uncle said, "There's a lot of wind up there." I let go, pulled it again and let go. The kite wobbled in the sky tilting its head up and down "Move the string left or right You can add more string to go further." I asked, "How do I give it more line?" He said, "Ive got the spool. Let out more string and let go of the top so it can go higher." The kite got smaller. I said, "Uncle! How do we get it down?" "Do you want it to come down? Don't you want it to stay up there?" "I do! I want it to stay up there." "When you're tired, tie the string around your wrist, sit here and just watch it." He tied the string around my wrist and handed me the reel. "Hold the wheel tight!" I asked, "What if the string breaks?" "The kite will be free to go wherever it wants. It'll fly high and everyone will see it". I said, "Will they know it's mine?" He said, "Yes! I'm going to take a picture of you. I’ll be back". The uncle left. I sat on the roof with my hands on my knees. The kite string kept pulling. The kite swayed left and right in the sky. I pulled and let go. I gave it more string. I pulled the string to the left. It was heavy. I pulled the string but couldn't give it more. It wouldn't move left or right. untied the knot and held the reel. I stood up. The kite wasn't moving. I let go of the reel and the line unwound. The reel spun, releasing more string. I was giving the kite a lot of line. My hand was getting tired.  The wind was now very strong. I shouted, "Uncle! It's heavy! I gave it too much string. My hand is tired!" Uncle didn't answer.  I let go of the reel.  It fell to the ground.  The wind cooled my face. Uncle spoke from behind me: "How's it going, pilot?" The reel kept spinning, unwinding more line. I said, "Uncle! Look! My kite is free." I let go of the wheel. I turned towards him and he took a picture of me.
Todas las formas del fuego - All the forms of fire (2023)











✸✸eng

In a country of constant phenomena, it is thanks to its own territorial and cultural construction, that Colombia becomes a repeated identification of codes, symbols, and particular events that have shaped a social, moral and political structure. Festivals, war, illnesses, climate change and the other gears that comprise certain essence of "Colombianity" are called under the form of fire. Here, its spark, its aesthetics, its ideal of danger and passion are manifested through the thermal sensation of heat and its popular representation in Colombian visual culture. Through this video installation, the construction of a common identity obeys the exercise of unexpected, extreme, violent and natural events that have configured the ideal of "heat" as a linguistic term and cultural phenomenon. Through this video installation, the particularities that this terminology has impregnated in the ways of describing such events are recognized.












✸✸esp

En un país de fenómenos constantes, es gracias a su propia construcción territorial y cultural, que Colombia se convierte en una repetida identificación de códigos, símbolos y eventos particulares que han dado forma a una estructura social, moral y política. Fiestas, guerra, enfermedades, cambio climático y demás engranajes que conforman cierta esencia de la «colombianidad» son convocados bajo la forma del fuego. Aquí, su chispa, su estética, su ideal de peligro y pasión se manifiestan a través de la sensación térmica del calor y su representación popular en la cultura visual colombiana. A través de esta videoinstalación, la construcción de una identidad común obedece al ejercicio de eventos inesperados, extremos, violentos y naturales que han configurado el ideal de «calor» como término lingüístico y fenómeno cultural. A través de esta videoinstalación se reconocen las particularidades que esta terminología ha impregnado en las formas de describir dichos eventos.
Hot land fictions  (2022)Ficciones de tierra caliente  (2022)














































✸✸eng

"Tierra Caliente" (hot land) is the term popularly used in Colombia to refer to territories with warm climates. Most of them are near the coast, the sea, or the river. It is also used to designate territories where the war has had a greater impact or where there are still high rates of violence to this day. "Hot land fictions" is a visual and expanded film on the different narrative lines that emerge from the revision of the Colombian "hot" landscape. From the film montage, divided into three channels, I develop three narrative lines that make up the video installation. The first is a science fiction story based on the late twentieth-century war stories. The second is an anachronistic historical tale describing the world's origin in the Magdalena River bank, and the last one is a short story about the myth of the "Lizard Man".
































    
✸✸esp

«Tierra Caliente» es el término utilizado popularmente en Colombia para referirse a los territorios de clima cálido. La mayoría de ellos están cerca de la costa, el mar o el río. También se utiliza para designar territorios donde la guerra ha tenido un mayor impacto o donde aún hoy existen altos índices de violencia. «Ficciones de la tierra caliente» es una película visual y expandida sobre las diferentes líneas narrativas que surgen de la revisión del paisaje “caliente” colombiano. A partir del montaje fílmico, dividido en tres canales, desarrollo tres líneas narrativas que conforman la videoinstalación. La primera es una historia de ciencia ficción basada en los relatos bélicos de finales del siglo XX. La segunda es un relato histórico anacrónico que describe el origen del mundo en la ribera del río Magdalena, y la última es una breve historia sobre el mito del «Hombre Lagarto». 
El cuerpo más extenso después del universo mismo (The largest body after the univers itself (2021)

✸✸eng
This installation is the historical and documentary reconstruction of a false event that represents the popular omen of the flooding of the Colombian Caribbean coast. This project is mainly crossed by common languages of historical representation and symbolic appropriations and concepts such as water-growth, new colonialism, the problems of aesthetic representation on the landscape, and the Colombian territory crisis.✸✸esp
Esta instalación es la reconstrucción histórica y documental de un falso acontecimiento que representa el presagio popular de la inundación de la costa Caribe colombiana. Este proyecto está atravesado principalmente por lenguajes comunes de representación histórica y apropiaciones simbólicas y conceptos como el agua-crecimiento, el nuevo colonialismo, los problemas de representación estética sobre el paisaje y la crisis del territorio colombiano.
Esta no es una historia sobre -  China This is not a story about China (2020)































‘This is not a story about China. It is a short film and an appropriation of a family and war archive that tells the story of Colombia's invasion of China. That, of course, never happened. The facts of this ‘false history’ are narrated by a woman, a Chinese fintional character who narrates from her own experience the event that apparently took place in the 1980s. This fiction is constructed from the relationship between symbols such as nationalism, heroism, patriotic decadence and the subjective and narrative representation of Colombia's 60-year war.

"Esta no es una historia sobre China. Es un cortometraje y una apropiación de un archivo familiar y de guerra que narra la historia de la invasión de Colombia a China. Eso, por supuesto, nunca ocurrió. Los hechos de esta «falsa historia» son narrados por una mujer, un personaje chino ficional que narra desde su propia experiencia el suceso que aparentemente tuvo lugar en los años 80. Esta ficción se construye a partir de la relación entre símbolos como el nacionalismo, el heroísmo, la decadencia patria y la representación subjetiva y narrativa de la guerra de 60 años colombiana.
















                        








        
       

DISTINCTIONS AND AWARDS: Official selection. 68th edition of the San Sebastian Film Festival. Nest Film Students. San Sebastian, Spain. First place. Premio Arte Joven (Young Art Award) Colsanitas and Embassy of Spain in Colombia. Award nominated. Bienal de la Imagen en Movimiento (BIM). (Biennial of the Moving Image). UNTREF. Buenos Aires, Argentina. National Documentary Competition. Equinoxio Film Festival. National Documentary Competition. Eureka Film Festival. Audience prize. Eureka Film Festival.





Allá el horizonte. Ficciones sobre el futuro en Colombia - Beyond the horizon. Fictions about the future in Colombia (2022)



 ✸✸eng
This is an editorial project that brings together different notions and perspectives of the political, natural, social and affective future of Colombia. As editor and curator of this project, I invited several artists, researchers, photographers, architects and writers to contribute in the creation of texts, images and/or exercises around the future in response to the political, climatic, social and natural changes that have provoked a new structure in the way we represent and inhabit the world. This publication is a kind of time machine that can transport us to evidence the world we want to enable in 100 years, encourage collective creation, and even the formation of fictions and collective speculations about different instances such as the climate, love, happiness, life, death, nature, the end of the world, the architecture, among others.✸✸esp
Este es un proyecto editorial que reúne diferentes nociones y perspectivas sobre el futuro político, natural, social y afectivo de Colombia. Como editora y curadora de este proyecto, invité a varios artistas, investigadores, fotógrafos, arquitectos y escritores a contribuir en la creación de textos, imágenes y/o ejercicios alrededor del futuro en respuesta a los cambios políticos, climáticos, sociales y naturales que han provocado una nueva estructura en la forma como representamos y habitamos el mundo. Esta publicación es una especie de máquina del tiempo que puede transportarnos a evidenciar el mundo que queremos habilitar dentro de 100 años, incentivar la creación colectiva, e incluso la formación de ficciones y especulaciones colectivas sobre diferentes instancias como el clima, el amor, la felicidad, la vida, la muerte,
la naturaleza, el fin del mundo, la arquitectura, entre otros.
Historia del fin de la guerra - History of the end of the world  (2016-2018)















































✸✸eng
The word (end) in parentheses, represents the urgent and final transition of the current political and social context of Colombia in the pursuit of peace with the guerrila (FARC).
This exhibition arises from the suspicion of change and “end”.  Francisca Jiménez work questions and resignifying the interstice that precedes the peace agreement, privileging and evidencing narratives from the subjective experience of the national conflict. Based on her personal experience as the daughter of a former soldier, the artist creates an archaeology in which different voices, views and experiences of the conflict converge.
The question that guides this project seems to be: How to represent this -interstitial- end of the war?This work questions the power of the documentary image by blurring the boundary between reality and fiction by formulating a system for dissimilar narratives.  This system also question the methods and strategies of the conflict representation inscribed in the territory, in the landscape and in the collective and personal imaginaries which are activated in Francy Jiménez’s work as narrative resources and vectors of memory.
This symbolic investigation, based on the sensation of suspense and hope of the current context, seeks to highlight and rescue the human side inherent in the conflict as the only component that does not accept parentheses.
Ana María Cifuentes Ruiz / Curadora / Centro Memoria, Paz y Reconciliación.
















































✸✸esp
La palabra (fin) en paréntesis, traduce la condición de transición del contexto actual de Colomben relación con el devenir de los acuerdos de paz pactados con las FARC.
Esta exposición surge de esta sospecha de cambio y “fin”. De esta manera,  en la obra de Francisca Jiménez se cuestiona y resignifica el intersticio que antecede el post acuerdo de paz privilegiando y evidenciando narrativas desde la experiencia subjetiva del conflicto. A partir de su propia experiencia como hija de un ex-militar, la artista realiza un trabajo de arqueología de la memoria en la cual convergen distintas voces, miradas y vivencias del conflicto.
La pregunta que guía este proyecto parecería ser: ¿cómo representar ese fin -intersticial- de la guerra?. Las obras reunidas cuestionan el poder de la imagen documental diluyendo la frontera entre la realidad y la ficción agenciando narrativas disimiles.  También cuestionan los métodos y estrategias de la representación del conflicto inscrito en el territorio, en el paisaje, en los imaginarios colectivos y personales, y que son activados en la obra de Francisca Jiménez como  rursos narrativos y vectores de memoria.
Esta indagación simbólica a partir de la sensación de suspenso y esperanza del contexto actual, busca resaltar y rescatar el lado humano inherente al conflicto, desde los cotidiano, afectivo, como único componente que no acepta paréntesis.
Ana María Cifuentes Ruiz / Curadora / Centro Memoria, Paz y Reconciliación.
Colombia
B.1993

EDUCATION
> ESTUDIES
2016. BFA. Artes visuales (Visual Arts). Pontificia Universidad Javeriana. Bogota, Colombia.

> GRADUATE DEGREES
-2021. DIPL. Arte y Política (Art and Politics). Colombian Ministry of Culture. Universidad Jorge Tadeo Lozano. Colombia.
-2020. Film Program. Universidad Torcuato Di Tella. Buenos Aires, Argentina.
-2017. DIPL. Acción Humanitaria, Posconflicto y Construcción de Cultura de Paz (Humanitarian Action, Post-Conflict and Culture of Peace). Pontificia Universidad Javeriana. Bogota, Colombia.
> SEMINARS AND WOKSHOPS 
2020. Fragmentos de un discurso crítico (Fragments of a critical discourse) by Graciela Speranza. Buenos Aires, Argentina
2017. Taller Errorista. Línea de arte, ciencia y tecnología. (Line of Art, Science and Technology)
by Plataforma Bogota. Bogota, Colombia.
2017. El museo reinventado. Charlas sobre museografía crítica entre Brasil y Colombia. (The reinvented museum. Talks on critical museography between Brazil and Colombia). Universidad Javeriana. Bogota, Colombia. 

SCHOLARSHIPS, DISTINCTIONS AND AWARDS
2024. Fellow scholarship. Stiftung Künstlerdorf. Schöppingen, Germany
2023. International circulation fellowship program. Idartes
2023. International circulation fellowship program. Ministry of Culture of Colombia.
2022. Nominada Premio UNTREF 2022 de la BIM.
2022. Ganadora del Salón Nacional de Arte Joven. Galería Santa Fé. Idartes.
2021. National Documentary Competition. Festival Equinoxio.
2021. National Documentary Competition. Festival Eureka.
2021. Audience prize. Festival Eureka.
2021. Beca de Publicaciones independientes Seriadas. (Independent Publications Grant). Tormenta Ediciones : Francisca Jimenez, Germán Benincore and Margarita Moreno. IDARTES.
2020-2021. Selection. Salones Regionales de Artistas. Zona Caribe. (Regional Salon. Caribbean Zone).
2020. First place. Premio Arte Joven (Young Art Award) Colsanitas and Embassy of Spain in Colombia.
2020. Official selection. 68th Edition of the San Sebastian Film Festival. Nest Film Students.
2019-2020. Half scholarship. Film Program. Universidad Torcuato Di Tella. Buenos Aires, Argentina.
2019. Beca de circulación para artistas u otros agentes de artes visuales. Ministerio de Cultura de Colombia (Circulation grant for artists and other visual arts agents. Ministry of Culture of Colombia).
2019. Participant of the III Salón de Arte Joven. Fundación Gilberto Alzate Avendaño (III Young Art Salon. Gilberto Alzate Avendaño Foundation). Bogota, Colombia. 
2018. Beca de programación, Red Galería Santa Fe. Laboratorios en el Parqueadero del Museo Miguel Angel Urrutia, Museos del Bano de la República. La Lanza Colectivo: Francisca Jimenez, Daniela Villamizar and Camila Duque Jamaica. (Visual Arts Programming grant. RED Gallery Santa Fe) IDARTES). Bogota, Colombia.

RESIDENCIES
2025. Upcoming. Piso Térmico. Virreyna. Bogota, Colombia.
2024. Stiftung Künstlerdorf. Schöppingen, Germany
2023. Themed Commission Residency: Borderless, Stateless. Trinity Square Video. Toronto, Canada. 
2022. Residencia en Gráficas Molinari. Beca de Residencias Nacionales en Artes Plásticas y Visuales. Idartes. Bogotá, Colombia.
2022. Fundación Carolina (Carolina Foundation) Madrid, Spain.
2020. cheLA, Buenos Aires, Argentina.

COLLECTIONS
(Since 2021) Colección del Museo del Banco de la República de Colombia (Collection of the Art Museum of Colombia’s Central Bank). Colombia.
(Since 2020) Colección Colsanitas (Colsanitas Collection). Colombia and Spain.
(Since 2018) Colección Saisho (Saisho Collection). Madrid, Spain.
(Since 2017) Colección Bachué de José Darío Gutiérrez (Bachué Collection of José Darío Gutiérrez).
(Since 2017) Colección del Museo de la memoria del Centro Nacional de Memoria Histórica (Museum of Memory collection of the National Center for Historical Memory). Colombia.

SOLO EXHIBITION
2022. El cuerpo más extenso después del universo mismo. Proyectos. ArtBo.
2020. Línea de caída. Residency results exhibition in cheLA. Buenos Aires, Argentina.
2017. Historia del fin de la Guerra. Centro de Memoria de Paz y Reconciliación (Peace and Reconciliation Memory Center).

GROUP EXHIBITION
2024. Excavar hasta llegar a las estrellas. (Digging to the stars). Casa Republicana. Museos del Banco de la República, Bogota, Colombia.
2024. Tierra de promisión. (Land of promise). Espacio el Dorado, Bogota, Colombia.
2024. Retrospectiva Premio Arte joven Colsanitas. (Retrospective) Centro de Cooperación Española. Cartagena, Colombia.
2023-2024. La Buena Vida (A good life) Museo de Arte Moderno de Medellín. Medellín, Colombia.
2023-2024. Buscando El Dorado (Searching for El Dorado). Espacio El Dorado. Bogota, Colombia.
2023. Poéticas de la existencia. (Poetics of existence). Acoyte space. Buenos Aires, Argentina.
2023. Borderless, Stateless. Trinity Square Video. Toronto, Canada.
2023. El paraíso en el Nuevo Mundo. Espacio el Dorado. Bogotá, Colombia. 
2022. Salón Nacional de Arte Joven. Casi Juntos. Galería Santa Fé. Idartes.
2022. Entrañar el Absurdo. Fin de Semana Artbo. Espacio el Dorado. Bogotá, Colombia.
2021. Mujer, Memoria y Espacio. Fundación Caona. (Caona Foundation) and ARTBO Feria Internacional de Arte de Bogota (Bogota International Art Fair). Bogota, Colombia.
2021. Salones Regionales. Zona Caribe. Colombia.
2021. Sinuous Trails. Female Voices of Latin America. Vortic platform. United Kingdom.
2020-2021. Quiero estar contigo / I wanna be with you. Museo de Arte Moderno de Bogotá MAMBO. (Museum of Modern Art of Bogotá MAMBO).
2020. Salón de arte Joven. Galería Nueveochenta. Bogota, Colombia.
2019. Sub-versiones. UV (Argentina) Sagrada Mercancía (Chile) Km Art Gallery (Puerto Rico). San Juan de Puerto Rico.
2019. Levantar la liebre. Espacio El Dorado. Bogota, Colombia.
2019. III Salón de Arte Joven. Fundación Gilberto Alzate Avendaño. (Gilberto Alzate Avendaño Foundation). Bogota, Colombia 
2019. Gesto y lenguaje. Espacio El Dorado. Bogota, Colombia 
2019. Desde las ligas menores. Diálogos subvertidos. Laboratory results. Museo Miguel Urrutia (MAMU). 
Bogota, Colombia.
2018. La Mona Rusa. Cooperartes. Bogota, Colombia.
2017. En el corazón de los Andes. Espacio El Dorado. Bogota, Colombia.
2017. IX Salón de Arte Joven Club el Nogal. Bogota, Colombia 
2017. Feria del millón. Bogota, Colombia.
2016. II Salón Universitario de Fotografía. Espacio Plataforma. Bogota, Colombia.

FESTIVALS AND PUBLIC SCREENINGS
2024. Biff. Bogotá International film festival. Bogota, Colombia.
2022. Frontera Sur film festival. Santiago de Chile, Chile.
2022. Bienal de la Imagen en Movimiento (BIM). (Biennial of the Moving Image). UNTREF. Buenos Aires, Argentina.
2022. CORTIZONA. Cartagena International Film Festival. Cartagena, Colombia.
2021. Public screening at the Mar del Plata International Film Festival. Mar del Plata, Argentina.
2021. Festival Equinoxio. Universidad Nacional de Colombia. Bogota, Colombia. 
2021. Festival Eureka. Universidad Jorge Tadeo Lozano. Bogota, Colombia. 
2021. TIFF. Tirana International Film Festival. Tirana, Albania.
2021. Public Screening. Museo de Arte Moderno de Bogotá MAMBO. Bogota, Colombia.
2021. Psarokokalo Film Festival. Athens, Greece
2021. Ficunam Film Festival. Mexico City, Mexico. 
2021. Public screening at the New year’s eve Poetry Project Festival. New York, United States.
2020. MIDBO. Muestra documental internacional de Bogota. Bogota, Colombia.
2020. FESTIFREAK film festival. La Plata, Argentina.
2020. Official selection. 68th edition of the San Sebastian Film Festival. Nest Film Students. San Sebastian, Spain.

GROUP PROJECTS AND COLLABORATIONS
(2020-ongoing) La Magdalena. Magazine and feminist collective.
(2018-ongoing) Tormenta ediciones. Editorial project. Editorial direction along with Germán Benincore y Margarita Moreno.
(2019-ongoing). Agosto. Expanded audiovisual project. Direction and script.
2018-2019. La Lanza Colectivo. Daniela Villamizar, Francisca Jimenez, Camila Duque Jamaica. Production and curatorship.
2017. Arre, hermosa vida. Short film directed by Daniela Villamizar. Artistic direction. Featured in Artecamara (ARTBO) Feria Internacional de Arte de Bogota (Bogota International Art Fair)
2017. Habitar y resistir. Co-creator and designer.
2015-2018. Especies de Espacios. Young researcher, artist and curator.

PUBLICATIONS AND PRESS
2021. El cuerpo más extenso después del universo mismo. (The largest body after the universe itself) Tormenta ediciones.
2021.Historia privada de las agendas (Private history of notebooks) By Jorge Francisco Mestre.
2020-2021. El futuro del arte en Colombia. (The future of Colombian art) by Cristina Esguerra.
2020.Francisca Jimenez Ortegate obtuvo el Premio Arte Joven (Francisca Jimenez Ortegate won the Young Art Award)
2018-2019 Habitar el mundo desde el salón de clases (Inhabit the world from the classroom)
*JIMÉNEZ, Francisca. DUQUE, Camila. VILLAMIZAR, Daniela. LEÓN, felipe. BARBOSA, Sonia. HERNÁNDEZ, Esteban. IDARTES.
2017. El Arte de la Guerra. Textos del fin del mundo. (The Art of War. Texts of the end of the world)
*JIMÉNEZ, Francisca.
2018. Artistas colombianos menores de 30 para seguirles la pista.Note and interview by Julia Roldán for Bacánika.
2017. Artistic review by Manuela Ochoa for Oropéndola. Centro Nacional de Memoria Histórica.

RESEARCH
2020-2021. Hipermedia y representación, Hypermedia and representation, an investigation on the expanded political image. Research in writing process.
2016-2017. Museo de los Usos, An investigation on social museography by Especies de Espacios
2016-2017. Habitar y resistir. An investigation and curatorship developed by Especies de espacios.
2018-2019. Desde las ligas menores. Diálogos subvertidos. An investigation on art, pedagogy and new pedagogical technologies. La lanza colectivo.
2016.Crisis subjetiva en Colombia. An investigation on war representation in Colombia visual culture. Thesis paper.

                                                        Peliculas cortas y libros preciosos