En - bola - atados


Es | En


By Tony Evanko

Ana Isabel Díez clearly fits within the category of artists who have a genuine social consciousness, and who feel a personal need to address social issues in their practices. While at the same time they are compelled to create symbols of those struggles that can create the aesthetic tension that is understood in the context of exhibition, thus making clear that Diez believes, as does Claire Bishop and Jacques Ranciére, that it is not necessary to “sacrifice the aesthetic at the alter of social change….”[1]

[1] Bishop, Claire. “The Social Turn: Collaboration and Its Disconten.” ARTFORUM, February 2006. http://cam.usf.edu/CAM/exhibitions/2008_8_Torolab/Readings/The_Social_Turn_CBishop.pdf. (p.1-10)


Santa Clara, from the serie holly office. EN-BOLA-ATADOS.
Oil on wood whit gold leaf. 38 x 33 cms. 2015

About my work
By Ana Isabel Diez

“EN – BOLA – ATADOS arises from different meanings of the word EMBOLATAR (deceive, confuse, get lost) and, based on a put that allows to transform the term, which eventually turns into EN- BOLA- ATAR, the artist addresses the topic of domestic violence against women, bringing attention to the magnitude of this growing social problem.

Given that clothing is charged with historical meaning, memory and identity, the project approaches breaking cultural patterns through the destruction of personal garments belonging to women exposed to violence. Using torn garments, balls are made by tangling and knotting the scraps of fabric, giving them a new configuration, transforming that reality. In other words the construction of the balls becomes a cathartic and healing action that implies a change of shape.


VIII Luis Caballero Award. EN-BOLA-ATADOS. Santa Clara Museum, Bogotá. 2015


360º View / Santa Clara Museum / Bogotá


Building the work: workshop En-bola-atados in Colombia

Book I / En - bola - atados