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Documenting Performative Art

Anthony Michael Perri

María Teresa Hincapié (©AMP 2022)


March 16th, 2022


The Museum of Modern Art Medellin (MAMM) is, apt to its name, a modern looking building, composed of offset blocks and criss-crossing stairways, situated between the river on one side and a park on the other where groups of teenagers sit around and smoke marijuana.

The event wasn’t heavily publicized; at least, I hadn’t seen it advertised anywhere. I was made privy to it myself just the day before by my assistant, who was to accompany me to the event, albeit late in doing so.

By the time I got there it had just finished raining. I was happy to discover that my favourite franchise had a location right next door, and so I bought myself a chocolate ice cream and milled about. Outside, teams of men were mopping and wiping down a stage that was erected there. The entrance to the museum itself was busy with throngs of university students with slightly dark stylings to them.

Admission to the event was free – the only prerequisite was to show one’s proof of vaccination. I was given an orange sticker to put on my sweater and directed to the theatre located on the 3rd floor.