Image: Museo de Arte Moderno de Medellín, Medellín
Astrid González’s ‘La boca donde el agua engendra el agua’ will open at the Museo de Arte Moderno de Medellín (MAMM) on 10 September as part of a new four-exhibition cycle examining relationships with matter, territory, memory and sound. The museum places it in Sala D and lists it only as running from 10 September 2026, without a closing date; free opening programming continues through 11 September. MAMM’s visiting hours are Tuesday to Friday 11 a.m. to 7 p.m. and Saturday, Sunday and public holidays 11 a.m. to 6 p.m.
González’s project approaches the ocean as both “cemetery and stage of liberation,” according to the exhibition text. Its darkness is described as an opaque geography articulated through a coded language identified as the cimarrón language—the language of the time it takes for a body to become carbon in salt water. The exhibition frames the ocean not simply as a physical environment, but as a space in which transformation, memory and spiritual presence remain active.
Within that setting, the project develops a fabulation involving spiritual beings including mermaids, serpents and entities associated with Haitian Vodou. These figures mediate access to other sensory regimes: listening to dreams, feeling currents and attending to the vibrations of ancestors said to inhabit the depths. The description positions González’s exhibition around submerged histories and forms of perception that exceed ordinary visibility and conventional accounts of the sea.
The presentation is part of a larger programme bringing four artists to MAMM’s galleries. Pedro Gómez-Egaña’s ‘Los años de la piedra’ descends into a territory where domestic and geological realms converge, drawing on Antioquia’s geography of inclines and the industrial inheritance of the former steelworks building occupied by the museum. Gala Porras-Kim’s ‘El movimiento de un registro fluvial’ is identified by MAMM as the artist’s first institutional exhibition in Colombia; it considers how museums, archives and power structures shape narratives around cultural objects. Félix Blume’s ‘Enjambre’ uses 250 small suspended loudspeakers to reproduce the individual sounds of bees in flight, shifting between a collective murmur and the distinct presence of each insect.
The opening programme begins on Thursday, 10 September, when the galleries will be accessible free of charge from 11 a.m. Public tours of ‘Enjambre’ and ‘Los años de la piedra’ are scheduled for 3 p.m., followed at 4:30 p.m. by tours of González’s exhibition and ‘El movimiento de un registro fluvial’. A 6:30 p.m. opening conversation will take place that evening. The museum’s listing for the inauguration writes the title as ‘La boca por donde el agua engendra el agua’, while the exhibition’s own page uses ‘La boca donde el agua engendra el agua’. The museum’s announcement also lists the event spaces as Salas Fundiciones, A, B, C, D, LAB 3 and Teatro MAMM.
Programming continues on Friday, 11 September, with a 10 a.m. talk by Gala Porras-Kim focused on ‘El movimiento de un registro fluvial’. The museum describes the opening activities as free and places the event at its Ciudad del Río site, Carrera 44 N° 19A-100, in Medellín.
