Leonel Vásquez | Untitled, Art Miami Beach 2024

Canto Rodado a Tres Voces

Sound sculpture, analog amplifying system. Rocks gathered from an anthropogenically intervened or dried river or waterscape in Colombia, wooden needle, resonant membranes, brass bugles, resonance box, electric motor

39” x 30” x 30” | 100 x 75 x 75 cm (HxWxD)

Ed. 2/3 + 2 AP

14.000 USD

Canto Rodado, Pequeños Cataclismos

Sound sculpture, analog amplifying system.
Rock gathered from an anthropogenically intervened or dried river or waterscape in Colombia, wooden needle, resonant membranes, brass bugles, resonance box, electric motor

10” x 6” x 6”| 26 x 14 x 14 cm (HxWxD)

Ed. 6/8 + 2 AP

4.000 USD

Canto Grande

Sound sculpture, analog amplifying system.
Rock gathered from an anthropogenically intervened or dried river or waterscape in
Colombia, wooden needle, resonant membranes, brass bugles, resonance box, hand
crank system.

25” x 25” x 16” | 65 x 65 x 40 cm (HxWxD)

1/7 + 2 AP

7.500 USD

Canto Rodado a Dos Voces (Electric)

Sound sculpture with analog amplifying system. Rocks gathered from an anthropogenically
intervened or dried river in Colombia, wooden needle, resonant membranes,
brass bugles, resonance box, electric motor.

22” x 5” x 21” | 55 x 54 x 53 cm (HxWxD)

Ed. 1/7 + 2 AP

6.500 USD

Canto Rodado a Una Voz – Concierto (Mechanical)

Sound sculpture, analog amplifying system.
Rock gathered from an anthropogenically intervened or dried river or waterscape in
Colombia, wooden needle, resonant membranes, brass bugles, resonance box, hand
crank system.

20” x 22” x 14” | 52 x 56 x 36 cm (HxWxD)

1/7 + 2 AP

5.500 USD

Leonel Vásquez is a Colombian sound and plastic artist. Throughout his artistic practice, Vásquez reflects on and explores the powers of sound as a medium that molds sensory experience, as well as a vibrational force that traverses spaces and is consolidated in sculptures, multimedia pieces, and architectonic sound installations. He investigates ways to expand the act of listening as a political, aesthetic, and recomposing action, and a medium to rebuild bonds in contexts of social and environmental conflict. His main conceptual interests include singing as a resistance practice, sound memories in contexts of armed conflict, the dynamics of sound and silence, the sound qualities of waterscapes, and subaquatic sound.

Vásquez is recognised internationally as a researcher and cultural producer for projects carried out in collaboration with the National Radio of Colombia, the National Center for Historical Memory, and the Ministry of Culture of Colombia. His works have been exhibited in institutions such as the Baltic Centre for Contemporary Art (England), the Museum of Modern Art of Bogotá | MAMBO, the Miguel Urrutia Art Museum (Bank of the Republic of Colombia) | MAMU, the National Museum of Colombia, the Museum of Modern Art of Medellín | MAMM, the Museum of Antioquia, the Center for Memory, Peace, and Reconciliation, the Water Museum, and the Bogotá Chamber of Commerce.. He currently serves as a professor of sound art in the Art Department at the University of Los Andes (Bogotá).

He has carried out numerous solo exhibitions, including Acuerdos con el mundo natural y la asamblea de los seres vivos at Fragmentos, Espacio de arte y memoria (Bogotá, 2024), Templo de agua: Río Bogotá (Water Temple: Bogotá River) at NC Arte (Bogotá, 2023), Canto Rodado at the National Sound Archive of Mexico (Mexico, 2023), Canto Rodado at Casa Hoffmann (Bogotá, 2019), Tierras del Mar (Lands of the Sea) at the Valparaíso Arts Festival (Chile, 2018), and The River’s Cradle at the OpenArt Biennial in Örebro (Sweden, 2017). Throughout his trajectory, he has received multiple accolades and awards, including the Creation Grant for Mid-Career Artists awarded by the Ministry of Culture of Colombia (2019), the Bogotá Platform Residency Grant – More Art More Action from the District Institute for the Arts (2018), and the International Circulation Grant from the Ministry of Culture of Colombia on two occasions (2017 and 2014). He has been invited to participate in several international panels in contexts such as the XI Tsonami Sound Art Festival (Chile, 2017) and the panel “Art and Performance: Making Trauma Visible” during the Annual Meeting of the Hemispheric Institute of Performance and Politics (Montreal, 2014).