Colombian-born filmmaker and photographer, Nicolás Cifuentes works as a multidisciplinary artist on audiovisual projects between France and Colombia.
He is an active member of the PERRO QUE LADRA Association and coordinator of the festival Colombian Cinema Panorama in Paris. In France, he worked on documentary projects such as Psicomagia directed by Alejandro Jodorowsky. Detours-Atajos. Directed by José Luis Bongore and Mathilde Jauvin, presented at the Historical Memory Center of Bogotá.
He worked as director of photography in the film Ceiba, Memories of a Cuban family by Attys Luna Vega that was presented at the Thessalonique festival. He traveled as a photographer for the documentary Music and Life of the Colombian artist Carlos Vives in Europe.
In Colombia, the insertion of an ex-guerrilla fighter into civilian life continued, in the documentary Trazos de María Isabel Ospina. He then joined the camera team for the feature film So Many Souls directed by Nicolás Rincón Gille, which won prizes at the festival of the three continents in Nantes and at the festival in Marrakech. He also participated in unique artistic projects such as the Trilogy of an imaginary film directed by Rosa Gabbert as director of photography, The son of the amazons by Otman Salill, and the feature film Depuis que le Soleil a Brûlé directed by Michaël D'Auzon as director's first assistant.
Series of guacas
The guacas series brings together five heliographies on gold plates that refer to the indigenous tombs in which human remains were buried together with gold objects.
The guaca teyuna is an offering that will be buried in the lost city next to the mamo Rumaldo as a form of poetic restitution to the centuries of plundering by colonial voracity.
graduated from the Estienne School (ESAIG) in 1998. From 1998 to 2000, she trained with Jean-Daniel Lemoine, a specialist in 19th century photomechanical processes. In 2000, he founded the Atelier Héliog specialized in grain photoengraving, reviving a know-how that was on the verge of disappearing. In fact, the technique of photoengraving was no longer taught anywhere, and was only passed on from master to pupil. For about ten years he did not find a clientele interested in his work, but in 2019 his work was internationally recognized; less than a dozen craftsmen in the world have this know-how.
For the indigenous people of the Sierra Nevada, gold is considered one of nature's spiritual leaders. But for colonists and "guaqueros", the guacas are seen as treasures that offer the illusion of material wealth.
The chroniclers of the Indians narrated with rapture this sierra-urbe that the Tayronas abandoned at the end of the XVII century as a consequence of the gold fever. At the beginning of the seventies of the 20th century, rumors began to spread among guaqueros of an ancient place different from anything known, almost inaccessible. El Infierno, they called it, a place full of treasures and invaded by snakes that attracted the interest of the prospectors, who ended up killing each other, crazed by the riches they obtained from the black market sales of the extraordinary archaeological pieces that the jungle had been able to hide for almost three hundred years, and that today are exhibited in the greatest ethnological museums in the world.
("drawn by the sun") is a technique used to produce a pewter plate (or copper, or silvered copper) is coated with bitumen of Judea (a substance sensitive to light because it hardens on contact) dissolved in lavender essence. On this plate is deposited a negative translucent by a varnish, and the whole is exposed to sunlight. The light will pass through the places of the paper that do not have ink and the bitumen will only harden in the places where there is no image. The bitumen is then dissolved in the places that have not received light (where it does not harden and is therefore more easily removed), corresponding to the black lines of the etching. The plate is then selectively etched by the action of the acid ("etching"): the areas corresponding to the lines, not protected by the bitumen, are hollowed out by the acid. The plate without bitumen is then inked "in the hollows" (usual etching technique) and pressed against a sheet of paper. It thus reproduces "line by line" the original engraving. The printing of a new proof can be renewed indefinitely.