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An installation of Fred Sandback’s Untitled (Sculptural Study, Six-part Vertical Construction)<\/a><\/span>, c. 1983\/2022 is on display Mar 25- Apr 30, 2026 in the CILSE lobby, 610 Commonwealth Ave.<\/span><\/p>\n<\/div>\n<\/div>\n<\/p>\nOn the insomnia in Zamora: Photographs by Laura Roush<\/h2><\/p>\nOn the insomnia in Zamora: Grief, silencing, and sidewalk memorials in Michoac\u00e1n, Mexico.<\/h3>\nDel insomnio zamorano. Lo que no se platica, pero que la noche permite mostrar.<\/h3>\n\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n<\/p>\nBetween 2020 and 2023, Zamora, Michoac\u00e1n, was ranked first in homicide and disappearance rates, not only within Mexico but among world cities without a declared war. And yet, in daytime conversations, local residents made light of the violence, or avoided the topic altogether. These photos were taken on night walks in Zamora during those same years. First, they tried to capture the hundreds of sidewalk memorials, whose use of candles made them noticeable mainly after dark. Upon spending time with some of the families that created these tiny altars, the photographer widened her scope to document different ways that people in western Mexico communicate, or avoid communicating, about the crisis of disappearance. From an archive of hundreds of pictures, families of disappeared people also helped select pictures and contributed most of the captions, reflecting on two competing urges: to stay quiet, and to be seen.<\/p>\n<\/div>\n<\/div>\n\nPressing onward: Photographs by Samuel Fernando Rivera Andrade<\/h2><\/p>\nPressing onward: Injured bodies and spaces of care in migration across Mexico<\/h3>\n\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t\t\n\t\t\t\t<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n<\/p>\n <\/p>\nMigration is an intrinsic part of life for most species, including humans. For many centuries, we have pulled up stakes and moved on, in search of resources and greater certainties for building lives that are livable. But migratory flows are shaped by borders, and all their methods for channeling people\u2019s movements, both officially and informally. States, ever more intertwined with international markets, are constantly refining technologies for regulating flows of goods and people. Limits on freedom of movement show up in migration policies that quietly reproduce racist, heteronormative, classist, and ableist frameworks and inequalities. These make evident a paradox in liberal policies themselves: the \u201cfreedom of movement\u201d they promote for some people creates restrictions for others. People with lower incomes, and those outside the \u201cmythical norm\u201d (Audre Lorde, 1984), such as those with non-ideal bodies, are pushed into a hierarchy where their movements are subject to greater vigilance, and their bodies subject to punishment.<\/p>\nThese photographs focus on a particular group of migrants: people with disabilities, who have been affected by migration control regimes on the routes connecting Central America, Mexico, and the United States, and at their borders. Compassionate local people, moved by the sight of ailing migrants in perpetual movement, have often shown solidarity by providing food, clothing donations, and maps, or tending migrants\u2019 wounds. On routes where no solidarity groups exist, migrants themselves create \u201cnests\u201d: improvised shelters where they can rest together, and leave them for migrants who will arrive later. Several of these images offer glimpses of these nests\u2013nidos\u2014built with refuses and hardly noticeable to non-migrants. Migrants who will continue on, and those who stay to seek asylum in Mexico, use their time in these minimal shelters to teach and to learn: how to dress wounds, how to make found objects into prosthetics and crutches, and how to take care of themselves and each other.<\/p>\nAvanzar persistente: cuerpos lesionados y espacios de cuidado en tr\u00e1nsito migratorio por M\u00e9xico.<\/strong><\/p>\nFotograf\u00edas de Samuel Rivera<\/strong><\/p>\nLa migraci\u00f3n es una caracter\u00edstica intr\u00ednseca en la mayor\u00eda de las especies incluyendo los humanos, quienes por siglos nos desplazamos buscando recursos y certezas que garanticen una vida que se pueda vivir. Sin embargo, estos desplazamientos se han ido configurando como un fen\u00f3meno estructural y pol\u00edtico a partir de la formaci\u00f3n de fronteras y formas paralegales y legales de gobernar los movimientos humanos. Los Estados, cada vez m\u00e1s coligados con los mercados, han logrado mantenernos inmersos en una din\u00e1mica donde cada d\u00eda se pulen formas de regulaci\u00f3n del movimiento de las personas y las mercanc\u00edas, tanto de forma local como transnacional. La libertad o restricci\u00f3n del movimiento de las personas, se refleja en la aplicaci\u00f3n de pol\u00edticas migratorias sesgadas que entre l\u00edneas reproducen marcos racistas, heteronormativos, clasistas y capacitistas, reforzando desigualdades estructurales; esto es una paradoja de las propias pol\u00edticas liberales, ya que la \u201clibertad de movimiento\u201d que promueven, es restricci\u00f3n para otros. Bajo este panorama encontramos que las personas con menor ingreso econ\u00f3mico, as\u00ed como aquellas fuera de la norma m\u00edtica (Audre Lorde, 1984) es decir con cuerpos no hegem\u00f3nicos, son empujadas a un escalaf\u00f3n de mayor control y castigo de sus movimientos.<\/p>\nEsta serie de fotograf\u00edas enfoca a un grupo particular de migrantes, aquellos con discapacidad\/es, quienes se han visto afectados \u2014y a su vez afectan con sus m\u00faltiples transitares\u2014 por reg\u00edmenes migratorios y de control de movimiento presentes en el corredor migratorio Centroam\u00e9rica-M\u00e9xico-EE.UU. y sus fronteras. Algunas personas interpeladas por el continuo transitar de las personas migrantes y las dolencias que los acompa\u00f1an, se han organizado para solidarizarse con ellos brindando alimentos, donaciones de ropa, mapas y curando sus heridas, pero en los trayectos donde estos grupos o actores solidarios no se encuentran, las propias personas migrantes buscan crear rincones de cobijo y descanso para quienes caminan por d\u00edas. Varias de las im\u00e1genes muestran estos lugares improvisados de descanso y cuidados, son espacios donde pocas veces se nos ocurre mirar, ya que son construidos con materiales y cosas que parecen f\u00fatiles\/insignificantes o sobre ruinas de viejas construcciones. En estos entornos, tanto las personas migrantes como algunas personas que ya son solicitantes de refugio en M\u00e9xico aprenden y adec\u00faan, maneras de cuidarse y cuidar a sus colegas, convirtiendo en aliados potenciales a los objetos que para muchos son desechos, pero que en este contexto son parte esencial de ensamblajes de cuidado m\u00e1s complejos.<\/p>\n<\/div>\n<\/div>\n\nPedestrian Cinema: Favorite Poem Project <\/h2><\/p>\n<\/strong><\/span>Pedestrian Cinema<\/strong><\/span><\/h3>\nLocation: <\/b>Outside the Howard Thurman Center, street level, 808 Commonwealth Ave.\nDates:<\/b>\u00a0Thursday,\u00a0Mar 26 – Friday, Mar 27<\/strong><\/span><\/div>\nA street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\n\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/p>\n<\/div>\nThe Favorite Poem Project:<\/strong><\/h3>\nAt the Favorite Poem Project, we believe that poetry is a vocal, bodily art with a vigorous presence in the everyday – not just in college classrooms. Founded by U.S. Poet Laureate and former Boston University Professor Robert Pinsky, the FPP seeks to document and celebrate this presence, giving voice to the American audience for poetry through short video documentaries, educational resources, books, events, and more: favoritepoem.org<\/p>\nThis illuminated projector will feature ten short videos of regular people sharing and discussing their favorite poems. Pinsky says:<\/p>\n\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\nAs you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\nMar\u00eda Clara Cort\u00e9s at Boston University<\/h2><\/p>\nTribute to Fred Sandback – A propos of Pedestrian Space<\/strong><\/h3>\nIntervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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Between 2020 and 2023, Zamora, Michoac\u00e1n, was ranked first in homicide and disappearance rates, not only within Mexico but among world cities without a declared war. And yet, in daytime conversations, local residents made light of the violence, or avoided the topic altogether. These photos were taken on night walks in Zamora during those same years. First, they tried to capture the hundreds of sidewalk memorials, whose use of candles made them noticeable mainly after dark. Upon spending time with some of the families that created these tiny altars, the photographer widened her scope to document different ways that people in western Mexico communicate, or avoid communicating, about the crisis of disappearance. From an archive of hundreds of pictures, families of disappeared people also helped select pictures and contributed most of the captions, reflecting on two competing urges: to stay quiet, and to be seen.<\/p>\n
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Migration is an intrinsic part of life for most species, including humans. For many centuries, we have pulled up stakes and moved on, in search of resources and greater certainties for building lives that are livable. But migratory flows are shaped by borders, and all their methods for channeling people\u2019s movements, both officially and informally. States, ever more intertwined with international markets, are constantly refining technologies for regulating flows of goods and people. Limits on freedom of movement show up in migration policies that quietly reproduce racist, heteronormative, classist, and ableist frameworks and inequalities. These make evident a paradox in liberal policies themselves: the \u201cfreedom of movement\u201d they promote for some people creates restrictions for others. People with lower incomes, and those outside the \u201cmythical norm\u201d (Audre Lorde, 1984), such as those with non-ideal bodies, are pushed into a hierarchy where their movements are subject to greater vigilance, and their bodies subject to punishment.<\/p>\n
These photographs focus on a particular group of migrants: people with disabilities, who have been affected by migration control regimes on the routes connecting Central America, Mexico, and the United States, and at their borders. Compassionate local people, moved by the sight of ailing migrants in perpetual movement, have often shown solidarity by providing food, clothing donations, and maps, or tending migrants\u2019 wounds. On routes where no solidarity groups exist, migrants themselves create \u201cnests\u201d: improvised shelters where they can rest together, and leave them for migrants who will arrive later. Several of these images offer glimpses of these nests\u2013nidos\u2014built with refuses and hardly noticeable to non-migrants. Migrants who will continue on, and those who stay to seek asylum in Mexico, use their time in these minimal shelters to teach and to learn: how to dress wounds, how to make found objects into prosthetics and crutches, and how to take care of themselves and each other.<\/p>\n
Avanzar persistente: cuerpos lesionados y espacios de cuidado en tr\u00e1nsito migratorio por M\u00e9xico.<\/strong><\/p>\nFotograf\u00edas de Samuel Rivera<\/strong><\/p>\nLa migraci\u00f3n es una caracter\u00edstica intr\u00ednseca en la mayor\u00eda de las especies incluyendo los humanos, quienes por siglos nos desplazamos buscando recursos y certezas que garanticen una vida que se pueda vivir. Sin embargo, estos desplazamientos se han ido configurando como un fen\u00f3meno estructural y pol\u00edtico a partir de la formaci\u00f3n de fronteras y formas paralegales y legales de gobernar los movimientos humanos. Los Estados, cada vez m\u00e1s coligados con los mercados, han logrado mantenernos inmersos en una din\u00e1mica donde cada d\u00eda se pulen formas de regulaci\u00f3n del movimiento de las personas y las mercanc\u00edas, tanto de forma local como transnacional. La libertad o restricci\u00f3n del movimiento de las personas, se refleja en la aplicaci\u00f3n de pol\u00edticas migratorias sesgadas que entre l\u00edneas reproducen marcos racistas, heteronormativos, clasistas y capacitistas, reforzando desigualdades estructurales; esto es una paradoja de las propias pol\u00edticas liberales, ya que la \u201clibertad de movimiento\u201d que promueven, es restricci\u00f3n para otros. Bajo este panorama encontramos que las personas con menor ingreso econ\u00f3mico, as\u00ed como aquellas fuera de la norma m\u00edtica (Audre Lorde, 1984) es decir con cuerpos no hegem\u00f3nicos, son empujadas a un escalaf\u00f3n de mayor control y castigo de sus movimientos.<\/p>\nEsta serie de fotograf\u00edas enfoca a un grupo particular de migrantes, aquellos con discapacidad\/es, quienes se han visto afectados \u2014y a su vez afectan con sus m\u00faltiples transitares\u2014 por reg\u00edmenes migratorios y de control de movimiento presentes en el corredor migratorio Centroam\u00e9rica-M\u00e9xico-EE.UU. y sus fronteras. Algunas personas interpeladas por el continuo transitar de las personas migrantes y las dolencias que los acompa\u00f1an, se han organizado para solidarizarse con ellos brindando alimentos, donaciones de ropa, mapas y curando sus heridas, pero en los trayectos donde estos grupos o actores solidarios no se encuentran, las propias personas migrantes buscan crear rincones de cobijo y descanso para quienes caminan por d\u00edas. Varias de las im\u00e1genes muestran estos lugares improvisados de descanso y cuidados, son espacios donde pocas veces se nos ocurre mirar, ya que son construidos con materiales y cosas que parecen f\u00fatiles\/insignificantes o sobre ruinas de viejas construcciones. En estos entornos, tanto las personas migrantes como algunas personas que ya son solicitantes de refugio en M\u00e9xico aprenden y adec\u00faan, maneras de cuidarse y cuidar a sus colegas, convirtiendo en aliados potenciales a los objetos que para muchos son desechos, pero que en este contexto son parte esencial de ensamblajes de cuidado m\u00e1s complejos.<\/p>\n<\/div>\n<\/div>\n\nPedestrian Cinema: Favorite Poem Project <\/h2><\/p>\n<\/strong><\/span>Pedestrian Cinema<\/strong><\/span><\/h3>\nLocation: <\/b>Outside the Howard Thurman Center, street level, 808 Commonwealth Ave.\nDates:<\/b>\u00a0Thursday,\u00a0Mar 26 – Friday, Mar 27<\/strong><\/span><\/div>\nA street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\n\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/p>\n<\/div>\nThe Favorite Poem Project:<\/strong><\/h3>\nAt the Favorite Poem Project, we believe that poetry is a vocal, bodily art with a vigorous presence in the everyday – not just in college classrooms. Founded by U.S. Poet Laureate and former Boston University Professor Robert Pinsky, the FPP seeks to document and celebrate this presence, giving voice to the American audience for poetry through short video documentaries, educational resources, books, events, and more: favoritepoem.org<\/p>\nThis illuminated projector will feature ten short videos of regular people sharing and discussing their favorite poems. Pinsky says:<\/p>\n\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\nAs you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\nMar\u00eda Clara Cort\u00e9s at Boston University<\/h2><\/p>\nTribute to Fred Sandback – A propos of Pedestrian Space<\/strong><\/h3>\nIntervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Fotograf\u00edas de Samuel Rivera<\/strong><\/p>\nLa migraci\u00f3n es una caracter\u00edstica intr\u00ednseca en la mayor\u00eda de las especies incluyendo los humanos, quienes por siglos nos desplazamos buscando recursos y certezas que garanticen una vida que se pueda vivir. Sin embargo, estos desplazamientos se han ido configurando como un fen\u00f3meno estructural y pol\u00edtico a partir de la formaci\u00f3n de fronteras y formas paralegales y legales de gobernar los movimientos humanos. Los Estados, cada vez m\u00e1s coligados con los mercados, han logrado mantenernos inmersos en una din\u00e1mica donde cada d\u00eda se pulen formas de regulaci\u00f3n del movimiento de las personas y las mercanc\u00edas, tanto de forma local como transnacional. La libertad o restricci\u00f3n del movimiento de las personas, se refleja en la aplicaci\u00f3n de pol\u00edticas migratorias sesgadas que entre l\u00edneas reproducen marcos racistas, heteronormativos, clasistas y capacitistas, reforzando desigualdades estructurales; esto es una paradoja de las propias pol\u00edticas liberales, ya que la \u201clibertad de movimiento\u201d que promueven, es restricci\u00f3n para otros. Bajo este panorama encontramos que las personas con menor ingreso econ\u00f3mico, as\u00ed como aquellas fuera de la norma m\u00edtica (Audre Lorde, 1984) es decir con cuerpos no hegem\u00f3nicos, son empujadas a un escalaf\u00f3n de mayor control y castigo de sus movimientos.<\/p>\nEsta serie de fotograf\u00edas enfoca a un grupo particular de migrantes, aquellos con discapacidad\/es, quienes se han visto afectados \u2014y a su vez afectan con sus m\u00faltiples transitares\u2014 por reg\u00edmenes migratorios y de control de movimiento presentes en el corredor migratorio Centroam\u00e9rica-M\u00e9xico-EE.UU. y sus fronteras. Algunas personas interpeladas por el continuo transitar de las personas migrantes y las dolencias que los acompa\u00f1an, se han organizado para solidarizarse con ellos brindando alimentos, donaciones de ropa, mapas y curando sus heridas, pero en los trayectos donde estos grupos o actores solidarios no se encuentran, las propias personas migrantes buscan crear rincones de cobijo y descanso para quienes caminan por d\u00edas. Varias de las im\u00e1genes muestran estos lugares improvisados de descanso y cuidados, son espacios donde pocas veces se nos ocurre mirar, ya que son construidos con materiales y cosas que parecen f\u00fatiles\/insignificantes o sobre ruinas de viejas construcciones. En estos entornos, tanto las personas migrantes como algunas personas que ya son solicitantes de refugio en M\u00e9xico aprenden y adec\u00faan, maneras de cuidarse y cuidar a sus colegas, convirtiendo en aliados potenciales a los objetos que para muchos son desechos, pero que en este contexto son parte esencial de ensamblajes de cuidado m\u00e1s complejos.<\/p>\n<\/div>\n<\/div>\n\nPedestrian Cinema: Favorite Poem Project <\/h2><\/p>\n<\/strong><\/span>Pedestrian Cinema<\/strong><\/span><\/h3>\nLocation: <\/b>Outside the Howard Thurman Center, street level, 808 Commonwealth Ave.\nDates:<\/b>\u00a0Thursday,\u00a0Mar 26 – Friday, Mar 27<\/strong><\/span><\/div>\nA street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\n\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/p>\n<\/div>\nThe Favorite Poem Project:<\/strong><\/h3>\nAt the Favorite Poem Project, we believe that poetry is a vocal, bodily art with a vigorous presence in the everyday – not just in college classrooms. Founded by U.S. Poet Laureate and former Boston University Professor Robert Pinsky, the FPP seeks to document and celebrate this presence, giving voice to the American audience for poetry through short video documentaries, educational resources, books, events, and more: favoritepoem.org<\/p>\nThis illuminated projector will feature ten short videos of regular people sharing and discussing their favorite poems. Pinsky says:<\/p>\n\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\nAs you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\nMar\u00eda Clara Cort\u00e9s at Boston University<\/h2><\/p>\nTribute to Fred Sandback – A propos of Pedestrian Space<\/strong><\/h3>\nIntervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
La migraci\u00f3n es una caracter\u00edstica intr\u00ednseca en la mayor\u00eda de las especies incluyendo los humanos, quienes por siglos nos desplazamos buscando recursos y certezas que garanticen una vida que se pueda vivir. Sin embargo, estos desplazamientos se han ido configurando como un fen\u00f3meno estructural y pol\u00edtico a partir de la formaci\u00f3n de fronteras y formas paralegales y legales de gobernar los movimientos humanos. Los Estados, cada vez m\u00e1s coligados con los mercados, han logrado mantenernos inmersos en una din\u00e1mica donde cada d\u00eda se pulen formas de regulaci\u00f3n del movimiento de las personas y las mercanc\u00edas, tanto de forma local como transnacional. La libertad o restricci\u00f3n del movimiento de las personas, se refleja en la aplicaci\u00f3n de pol\u00edticas migratorias sesgadas que entre l\u00edneas reproducen marcos racistas, heteronormativos, clasistas y capacitistas, reforzando desigualdades estructurales; esto es una paradoja de las propias pol\u00edticas liberales, ya que la \u201clibertad de movimiento\u201d que promueven, es restricci\u00f3n para otros. Bajo este panorama encontramos que las personas con menor ingreso econ\u00f3mico, as\u00ed como aquellas fuera de la norma m\u00edtica (Audre Lorde, 1984) es decir con cuerpos no hegem\u00f3nicos, son empujadas a un escalaf\u00f3n de mayor control y castigo de sus movimientos.<\/p>\n
Esta serie de fotograf\u00edas enfoca a un grupo particular de migrantes, aquellos con discapacidad\/es, quienes se han visto afectados \u2014y a su vez afectan con sus m\u00faltiples transitares\u2014 por reg\u00edmenes migratorios y de control de movimiento presentes en el corredor migratorio Centroam\u00e9rica-M\u00e9xico-EE.UU. y sus fronteras. Algunas personas interpeladas por el continuo transitar de las personas migrantes y las dolencias que los acompa\u00f1an, se han organizado para solidarizarse con ellos brindando alimentos, donaciones de ropa, mapas y curando sus heridas, pero en los trayectos donde estos grupos o actores solidarios no se encuentran, las propias personas migrantes buscan crear rincones de cobijo y descanso para quienes caminan por d\u00edas. Varias de las im\u00e1genes muestran estos lugares improvisados de descanso y cuidados, son espacios donde pocas veces se nos ocurre mirar, ya que son construidos con materiales y cosas que parecen f\u00fatiles\/insignificantes o sobre ruinas de viejas construcciones. En estos entornos, tanto las personas migrantes como algunas personas que ya son solicitantes de refugio en M\u00e9xico aprenden y adec\u00faan, maneras de cuidarse y cuidar a sus colegas, convirtiendo en aliados potenciales a los objetos que para muchos son desechos, pero que en este contexto son parte esencial de ensamblajes de cuidado m\u00e1s complejos.<\/p>\n
A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\n
The <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/p>\n<\/div>\nThe Favorite Poem Project:<\/strong><\/h3>\nAt the Favorite Poem Project, we believe that poetry is a vocal, bodily art with a vigorous presence in the everyday – not just in college classrooms. Founded by U.S. Poet Laureate and former Boston University Professor Robert Pinsky, the FPP seeks to document and celebrate this presence, giving voice to the American audience for poetry through short video documentaries, educational resources, books, events, and more: favoritepoem.org<\/p>\nThis illuminated projector will feature ten short videos of regular people sharing and discussing their favorite poems. Pinsky says:<\/p>\n\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\nAs you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\nMar\u00eda Clara Cort\u00e9s at Boston University<\/h2><\/p>\nTribute to Fred Sandback – A propos of Pedestrian Space<\/strong><\/h3>\nIntervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
At the Favorite Poem Project, we believe that poetry is a vocal, bodily art with a vigorous presence in the everyday – not just in college classrooms. Founded by U.S. Poet Laureate and former Boston University Professor Robert Pinsky, the FPP seeks to document and celebrate this presence, giving voice to the American audience for poetry through short video documentaries, educational resources, books, events, and more: favoritepoem.org<\/p>\n
This illuminated projector will feature ten short videos of regular people sharing and discussing their favorite poems. Pinsky says:<\/p>\n
\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\nAs you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\nMar\u00eda Clara Cort\u00e9s at Boston University<\/h2><\/p>\nTribute to Fred Sandback – A propos of Pedestrian Space<\/strong><\/h3>\nIntervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\u201csaying the words of a poem aloud make one feel more able, more capable than in ordinary life. […] It is a form of collaboration, or mutual possession.\u201d<\/p><\/blockquote>\n
As you walk by, day or night, one of these poems may speak to you, too.\n<\/div>\n<\/div>\n\n
Intervention made with acrylic yarn | Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/p>\n
<\/span><\/span>The Art Museum at Universidad Nacional, located inside the campus in Bogot\u00e1, has been closed since May 2022. The roof’s insulating layer was melted by tear gas canisters fired by police <\/span>on many occasions at protesters, among them students, and pieces of the paint covering the inside are now constantly falling off.\u00a0<\/span><\/p>\n<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/span><\/span>I made this intervention, departing from the concept of Pedestrian Space proposed by Fred Sandback, a space occupied by the walker and by the sculpture when it descends from the podium.\u00a0<\/span>My sculptures<\/i>, Sandback said in 1973,\u00a0<\/span>have to do with complex, three-dimensional spatial situations. I regard them as my particular way of complicating and articulating the given situation, the existing space.<\/i><\/p>\n<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/span><\/span>The Art Museum at Universidad Nacional is in the middle of political conflict, not only related to the government and the decisions related to public education, but also to the internal tensions of power inside the University; in this sense, with the\u00a0<\/span>Tribute to Sandback – A propos of Pedestrian Space<\/span><\/i>, I’m interested in drawing attention to the way the actual state of the space of the Museum is a reflection of economic, ideological and political conditions. If Sandback\u00b4s sculptures had lines that defined clearly the shapes he proposed in the space, in this intervention I wrap the space around the columns and cross the central patio, in order to create disorganized figures that superpose and cross; the lines made with acrylic yarn, the same kind the artist used for his pieces, prevent visitors from circulating freely and create violent tensions in the central part of the\u00a0Museum.<\/span><\/p>\nHomenaje a Fred Sandback – A prop\u00f3sito del espacio peatonal<\/strong><\/h3>\nIntervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Intervenci\u00f3n realizada con lana acr\u00edlica | <\/span>Museo de Arte, Universidad Nacional, Bogot\u00e1, 2026.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
El Museo de Arte de la Universidad Nacional, situado dentro del campus de Bogot\u00e1, est\u00e1 cerrado desde mayo de 2022. La capa aislante del techo se derriti\u00f3 por los botes de gas lacrim\u00f3geno lanzados por la polic\u00eda en numerosas ocasiones contra los manifestantes, entre ellos estudiantes, y ahora trozos de la pintura que recubre el interior se desprenden constantemente<\/span><\/p>\nRealic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Realic\u00e9 esta intervenci\u00f3n a partir de la idea del Espacio Peatonal propuesto por Fred Sandback, un espacio ocupado por el caminante y por la escultura cuando \u00e9sta desciende del podio. Mis esculturas, dec\u00eda Sandback en 1973, tienen que ver con situaciones espaciales complejas y tridimensionales. Las considero mi forma particular de complicar y articular la situaci\u00f3n dada, el espacio existente.<\/span><\/p>\nEl Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
El Museo de Arte de la Universidad Nacional se encuentra en medio de un conflicto pol\u00edtico, no solo relacionado con el gobierno y las decisiones que comprometen la educaci\u00f3n p\u00fablica, sino tambi\u00e9n con las tensiones internas de poder dentro de la Universidad; en este sentido, con el Homenaje a Sandback – A prop\u00f3sito del espacio peatonal, me interesa llamar la atenci\u00f3n sobre la forma en que el estado actual del espacio del Museo es un reflejo de las condiciones econ\u00f3micas, ideol\u00f3gicas y pol\u00edticas. Si las esculturas de Sandback ten\u00edan l\u00edneas que defin\u00edan claramente las formas que propon\u00eda en el espacio, en esta intervenci\u00f3n envuelvo el espacio alrededor de las columnas y cruzo el patio central, con el fin de crear figuras desorganizadas que se superponen y se cruzan; las l\u00edneas hechas con hilo acr\u00edlico, del mismo tipo que el artista utiliz\u00f3 para sus piezas, impiden que los visitantes circulen libremente y crean tensiones violentas en la parte central del museo.<\/span><\/p>\nPedestrian Cinema<\/strong><\/h3>\n<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/strong>A street-level illuminated screen reflects the public back to itself in this public art installation playing a 48-hour repeated silent reel for passersby on Commonwealth Avenue March 26-27, 2026, highlighting the changing conditions of landscape and humanity with the passage of time. Each film portrays a member of the public in the process of contextualizing and finding meaning in art in their environment.<\/p>\nThe <\/span>Favorite Poem Project and Maria Clara Cortes,<\/span>\u00a0in alignment with Fred Sandback and Pedestrian Space honor the intention of placing art \u201cin the middle of things rather than on the periphery.\u201d<\/span><\/div>\n<\/div>\nR\u00edo Magdalena:<\/strong><\/h3>\n<\/iframe><\/div>\n<p><strong><br \/>\n<\/strong><em><a href=\"https:\/\/vimeo.com\/1180840357\">R\u00edo Magdalena<\/a> hace parte de Duraciones y recorridos, una serie de videos y acciones simb\u00f3licas que hablan de la condici\u00f3n cambiante de seres que est\u00e1n en el paisaje (\u00e1rboles, piedras, r\u00edos, pastos) cuyas dimensiones temporales y edades me sobrecogen. Pienso las acciones como conversaciones con esos seres que me permiten tener una conciencia distinta de mi propia dimensi\u00f3n temporal, de la experiencia del paso del tiempo, y de la vida en la Tierra.<\/em><\/p>\n<p><em>En<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> el video R\u00edo Magdalena<\/a>, camino repetidamente a lo largo de su orilla, imitando el continuo pasar del agua. Mi acci\u00f3n surge de la pregunta por la cualidad de ese ser antiguo que, en su continuo pasar, cambia y fluye incesantemente. Al caminar junto al r\u00edo, me interesa, por un lado, resaltar la imposibilidad de que el tiempo se repita igual; y por otro, registrar la forma en que ambos, el r\u00edo y yo, momento a momento, al pasar, somos distintos. El r\u00edo Magdalena, o Caripua\u00f1a, que significa r\u00edo grande, es una de las fuentes de agua m\u00e1s importantes de Colombia; se form\u00f3 hace m\u00e1s de dos millones de a\u00f1os, mucho tiempo antes de que los humanos pobl\u00e1ramos sus orillas y camin\u00e1ramos a su lado.<\/em><\/p>\n<p>R\u00edo Magdalena is part of Duraciones y recorridos (Durations and Journeys), a series of videos and symbolic actions that refer to the changing condition of beings in the landscape (trees, stones, rivers, grasses) whose temporal dimensions and long ages surprise me. I conceive these actions as conversations with those beings, which allow me to have a different awareness of my own temporal dimension, my experience of the passage of time, and the duration of life on Earth.<\/p>\n<p>In the<a href=\"https:\/\/vimeo.com\/286673046\" target=\"_blank\" rel=\"noopener\"> video R\u00edo Magdalena<\/a>, I walk repeatedly alongside the Magdalena River, echoing the continuous flow of its water. The action arises from my query on the quality of this ancient being that, in its continuous flow, ebbs and twirls incessantly. As I walk alongside the river, I am interested, on the one hand, in highlighting the impossibility of time repeating itself and, on the other hand, in highlighting the way in which both the River and I, moment by moment, are different as we go by. The Magdalena River, or Caripua\u00f1a (big river) is one of the most important watercourses in Colombia. It was formed more than two million years ago, long before we humans populated its banks and walked alongside it.<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h2 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BUCH Gallery<\/h2><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><div class=\"bu-slideshow-container pedestrian-space:-buch-gallery autoplay\" id=\"bu-slideshow-container-24717\" data-slideshow-name=\"pedestrian-space:-buch-gallery\" data-slideshow-delay=\"3000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-24717\"><li id=\"bu-slideshow-24717_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/12-VeladorasInconclusa-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Vigil at the Sanctuary of the Virgin of Guadalupe, terminal point of the Womens\u2019 Silent Procession | Velada al final de la procesi\u00f3n del silencio de las mujeres, Santuario Guadalupana, Zamora, 29 marzo de 2024<\/p><p class=\"bu-slide-caption-text\">According to local authorities\u2014municipal and religious\u2014about 15,000 women participated in the procession in 2024. They were received by the Sanctuary\u2019s Rector, Father Raul Ventura, who congratulated them: \u201cZamora is consolidating as a top destination for religious tourism.\u201d \r\n\r\n\u2003\r\n \r\nAutoridades municipales y religiosas confirmaron la asistencia de 15,000 mujeres en la procesi\u00f3n. Fueron recibidas en la explanada del santuario por su Rector, el padre Ra\u00fal Ventura, quien las felicit\u00f3: \u201cZamora se consolida como l\u00edder en el turismo religioso.\u201d \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/11-MarchaSilencio-636x424.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cToday we accompany the Virgin in her pain, in hopes she will accompany us in ours\u201d | Nos acompa\u00f1amos con el dolor de la Virgencita el d\u00eda de hoy, esperanzadas de que ella se conmueva con nosotras<\/p><p class=\"bu-slide-caption-text\">The Womens\u2019 March of Silence during Holy Week grew exponentially between 2020 and 2024. In Michoac\u00e1n, the church formerly organized the Marcha del Silencio strictly as a men\u2019s activity, re-enacting the Stations of the Cross. Women\u2019s organizations at particular parishes pressured for recognition of a womens\u2019 march to re-enact the vigil of Mary, mother of Christ, after the crucifixion. There have been struggles to control the meaning of the event in Zamora; for some groups the aim is to appeal to the Virgin as a bereaved mother in a violent time. \r\n\r\nLa Marcha del Silencio de las mujeres creci\u00f3 exponencialmente entre el 2020 y el 2024.En Michoac\u00e1n, siempre se hab\u00eda promov\u00eddo la Marcha del Silencio de los hombres, que representa las estaciones de la cruz. Organizaciones de mujeres en parr\u00f3quias espec\u00edficas presionaron para el reconocimiento de una procesi\u00f3n posterior que representar\u00eda la noche oscura de la Virgin en su duelo siguiendo a la crucifixi\u00f3n. Ha habido disputas por el significado del evento y de su crecimiento. Para muchas, el sentido es de apelar a ella como otra madre afligida en un tiempo violento. <\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\"><img src=\"\/humanities\/files\/2026\/02\/08-TaxiDriverBlue-636x432.jpg\" alt=\"\" \/><\/a><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\"><a href=\"http:\/\/Taxista%20comprometido%20con%20el%20turno%20nocturno%20y%20comensal%20eventual%20en%20el%20puesto%20de%20las%20hamburguesas.\">Taxi driver committed to the night shift, occasional diner at the hamburger stand. | Taxista comprometido con el turno nocturno y comensal eventual en el puesto de las hamburguesas.<\/a><\/p><p class=\"bu-slide-caption-text\">He has a pretty good idea of peoples\u2019 reasons for being awake at night. \r\nZamora, October 2022. \r\n\r\nConoce los motivos que tienen sus clientes para circular de noche. Zamora, octubre de 2022<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/07-hamburgerStand-636x427.jpeg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">\u201cWhy blame the night, if they kill you by day?\u201d | \u201c\u00bfQu\u00e9 culpa tiene la noche, si te matan de d\u00eda?\u201d<\/p><p class=\"bu-slide-caption-text\">Food stands, with their bright lights, draw together sleepless neighbors and strangers, a nocturnal sociability they won\u2019t give up easily. Taxi drivers, policemen, overnight hospital staff coincide. After midnight, the conversations grow more philosophical, as they connect bits of stories that will never appear in a newspaper. Colonia Duero, Zamora, Michoac\u00e1n, 2022.\r\n\r\n\u2003\r\nLos puestos de comida con sus luces convocan de lejos a convivir con vecinos o desconocidos, una sociabilidad que no se rinde. Taxistas, personal de urgencias, policias coinciden. Despu\u00e9s de la medianoche, la conversaci\u00f3n suele volverse m\u00e1s filos\u00f3fica. Se juntan pedacitos de noticias que nunca saldr\u00e1n en un peri\u00f3dico. Colonia El Duero, Zamora, enero de 2022. \r\n<\/p><\/div><\/div><\/li><li id=\"bu-slideshow-24717_4\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/humanities\/files\/2026\/02\/02-Novenario-636x428.jpg\" alt=\"\" \/><div class=\"bu-slide-caption caption-bottom-right\"><p class=\"bu-slide-caption-title\">Family observing a nine-day period of mourning called a novenario. | Novenario pand\u00e9mico, Colonia El Duero, Zamora, Michoac\u00e1n, 2020.<\/p><p class=\"bu-slide-caption-text\">The picture on the small altar is of a loved one who had died of Covid. Zamora, Michoac\u00e1n, 2020.<\/p><\/div><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-24717\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-5\" class=\"\" aria-hidden=\"true\"><span>5<\/span><\/a><\/li> <\/ul><\/div><\/div><\/p>\n<p dir=\"ltr\"><span>The BUCH Gallery, located just outside the offices of the BU Center for the Humanities at 725 Commonwealth Ave, launches its inaugural exhibit as part of the Pedestrian Space forum March, 2026: Photos of Zamora featuring photographers Laura Rousch and Samuel Rivera.<\/span><\/p>\n<p><span>These photographs explore and dissect notions of access, accessibility, safety and their opposites.<\/span><\/p>\n<p><\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p> Pedestrian Space Program Participants Abstracts<\/p>\n","protected":false},"author":22948,"featured_media":0,"parent":24018,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084"}],"collection":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/users\/22948"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/comments?post=24084"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions"}],"predecessor-version":[{"id":24831,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24084\/revisions\/24831"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/pages\/24018"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/humanities\/wp-json\/wp\/v2\/media?parent=24084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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