Doris Salcedo on Colombia's Struggle Against State-Sanctioned Cultural Erasure
Artist Doris Salcedo discusses the recent censorship of Colombia's national museum and public resistance.
1State Censorship in Bogota
On October 15, 2026, the Colombian government ordered the removal of specific exhibits from the Museo Nacional. These items included materials related to the 2016 FARC peace agreement, LGBTQ+ rights, and assassinated left-wing political leaders. President Abelardo De la Espriella labeled these historical figures as terrorists, triggering immediate national controversy and widespread public outrage.
2Rapid Judicial Intervention
The censored objects were reinstated within two weeks following a decisive court order. Despite the swift legal reversal, the incident sparked significant unrest across Colombia. Hundreds of citizens gathered in the streets to protest the government's actions, facing police repression while demanding the preservation of national memory and the protection of cultural institutions.
3Salcedo's Artistic Philosophy
Doris Salcedo is renowned for creating works that address historical trauma, mourning, and political disappearance. Her practice focuses on articulating the contours of absence rather than simple remembrance. By creating site-specific interventions, she highlights the victims of violence, ensuring that their stories remain visible even when authorities attempt to erase them from public view.
4Mobilization of Civil Society
Unlike previous political scandals, this act of censorship successfully mobilized the Colombian public. University professors held classes on the museum steps, and citizens maintained a constant presence outside the building. This grassroots reaction transformed the museum into a site of active resistance, proving that cultural suppression can inadvertently strengthen public engagement with history.
5The Power of Absence
The empty spaces left on the museum walls, described as ghostly rectangles, became powerful symbols of state overreach. Activists responded by reproducing the removed artworks and displaying them at the museum's entrance. This creative act of defiance turned the government's attempt at erasure into a fertile ground for artistic expression and political discourse.
6Historical Context of Erasure
This incident follows a pattern of state-sanctioned interference in Colombian cultural spaces. Salcedo previously experienced the usurpation of her installation Fragmentos under former president Iván Duque. These recurring attempts to control the national narrative reflect a broader struggle between authoritarian governance and the enduring, often uncomfortable, truths preserved through contemporary artistic practice.
7Art as Long-term Resistance
Salcedo maintains that art possesses a longevity that far exceeds the tenure of any government. By documenting the pain and political history of Colombia, artists create a record that outlasts political regimes. She emphasizes that those in power are ultimately portrayed by the very history they attempt to suppress through their restrictive policies.
8Global Resonance of Censorship
The situation in Colombia mirrors broader international trends where museums and cultural institutions become battlegrounds for political ideology. The public's refusal to forget demonstrates a deep-seated commitment to historical truth. As Salcedo prepares for her upcoming exhibition at White Cube, the event serves as a reminder of art's vital role in democracy.