2008
2007
-Miriam Londoño, by Elkin Restrepo, Colombian poet at the occasion of the exhibition "Stories of Immigrants".
-Leids Nieuwsblad, Paper Art in the Weaver House, Leiden, Netherlands , 30th of May
-Meppeler Courant, Demonstration Writing with Paperpulp ,Meppel, Netherlands 20th of June
-Meppeler Courant, Fragility in "Paper Here"! by Paul van de Lucht, Netherlands, 11th of June.
-Eighth Portfolio in Hand Papermaking , Hand Papermaking Magazine, Beltsville, MD, USA.
-Weefkontakblad van Regio 3, Luis Acosta and Miriam Londoño in the Leiden Weaver House, May.
Weefblad Magazine, Taal en Teken in Leiden, page 22-23, Noord-Holland
-Television Interview La Buena Vida, Medellin Colombia, 8 November
2006
-NRC Handelsblad, Ragfijn monnikenwerk van papier, by Friederieke de Raat, Monday June 12th
-Magazine KM no.58 Papier & Follies, Alkmaar, Netherlands
-Radio Interview in RNW Radio Nederlands WorldWide, Contrapunto Retratos, by Raquel Bruno, 28 August
-Television Interview, TV West, Nederland, 20 April
-Participation in the book: Papier op de Vlucht,Composer : Peter Gentenaar, Publising House Compres Bv, at the occasion of the sixth Holland Papier Biënnale.
2002
-Bangkok Time Out, Two cultures, Two styles, May , 2002
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Article written by the Colombian poet Elkin Restrepo
for the ocassion of the exhibition "Stories of Immigrants" held at the Colombo Americano, Medellin, Colombia, November 2007
Miriam Londono is an artist of ours who has lived in Holland for many years, and who now, in this exhibition opened at the Colombo Americano, returns to show us what living abroad has contributed to her passion for art.
Stories of Immigrants, is the name of these visual texts, written on paper pulp, and through which, based on personal testimonies gathered under various circumstances, Miriam recounts the painful drama of those who leave the country behind them one day in search of an illusion, an illusion that almost always
turns tragic.
Solidarity, human companionship, compassion, are the sensations these works convey, and in which the artist?s technique inverts paper?s ordinary function as a support, making it simply into letters, voids and writings; making it possible for us to gain a plethora of shades between what is said and left unsaid, between silence and words, in a way that is distinctive of poetry alone.
Beauty not exempt of pain: textures, dyes, rhythms and forms, which in their rigorous composition are the voice that speaks to our conscience among the silence pervading us all.
Elkin Restrepo
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