“In the mid-90s, I started studying visual arts. At that time, my approach to art was framed by what my parents had promoted with children's courses in drawing, music, painting, theater, a modest library on drawing techniques, an insistent taste for reading from basic education and many, but many educational toys related to technical skills; but even with that context, he had not experienced any confrontation with contemporary art. Motivated by schoolmates, I visited the MARCO Museum for the first time, in particular the 1995 MARCO Prize exhibition. What I remember most is that the painting by Marcelo Aguirre, which I later found out had been the winner of that award, had left me very restless. The restlessness was uncomfortable, annoying, but seductive, I liked feeling that way but I had no words to make sense of it. After several conversations at Vip's and experiences of collective work with teachers and friends from my university generation, I realized that I had entered a world of the arts that I did not understand, it bothered me (pleasantly) but I wanted to know more ... and I continue like this .

Later experiences in the same Museum gave me references to talk about what interested me in the world. Today I suppose that what happened was that there was a direct relationship between the rebelliousness of that painting by Aguirre and the ideas that circulated among my colleagues and friends in the world of the arts. After graduating, I have had the opportunity to visit contemporary art museums in other countries, even to collaborate in them and I recognize that the opportunity that the MARCO Museum gave me from that confrontational experience is a transcendental accomplice of what I do today in the arts. "

Samuel Cepeda

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