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Apenada y asombrada por la forma en que las instituciones privadas foraneas contribuian de manera mas significativa con las manifestaciones artisticas colombianas que las mismas dependias estatales, la critica de arte Marta Traba determino en la frase “Cultura Esso” una laconica y preocupante condicion del arte: la subordinacion de los creadores e intelectuales a los interes politicos de un regimen capitalista que paranoicamente compraba consciencias e intenciones a cambio de mantener un pais aliado. El vehiculo intelectual de cohesion mas significativo entre Colombia y el proyecto Panamericano de Estados Unidos fue la revista  Lampara  de la Esso Colombiana, subsidiaria en el pais de la  International Petroleum Company. Publicada desde 1952, Lampara  reunio a artistas, fotografos destacados, y escritores e intelectuales. La presencia del cubano Jose Gomez Sicre –director del area artistica de la OEA en Washington- en sus paginas fue determinante para la consolidacion de un lenguaje artistico apolitico en la region: su participacion en la creacion de museos, curadurias de arte colombiano exportadas a Estados Unidos y Europa, y su influencia en el mercado del arte a partir de su conexion con Rockefeller y el MoMA dictaban las directrices del arte que los pintores, dibujantes y escultores colombianos debian realizar para ser incluidos en el sueno americano. Esta propuesta pretende hacer una revision critica a la revista  Lampara y las dinamicas que la Esso promovio durante la Guerra Fria en Colombia como uno de sus paises aliados mas incondicionales, y como sus contenidos afectaron el panorama artistico latinoamericano. Sorry and astonished by the way in which foreign private institutions contributed in a more significant way to Colombian artistic manifestations than the state institutions themselves, the art critic Marta Traba determined in the phrase “Esso Culture” a laconic and worrying condition of art: the subordination of creators and intellectuals to the political interests of a capitalist regime that paranoidly purchased minds and intentions in exchange for keeping an allied country. The most significant intellectual vehicle of cohesion between Colombia and the United States' Pan American project was the magazine Lampara of the Colombian Esso, a subsidiary in the country of the International Petroleum Company. Published since 1952, Lampara brought together artists, prominent photographers, and writers and intellectuals. The presence of Cuban Jose Gomez Sicre - director of the artistic area of the OAS in Washington - in its pages was determinant for the consolidation of an apolitical artistic language in the region: his participation in the creation of museums, curatorships of Colombian art exported to the United States and Europe, and his influence in the art market from his connection with Rockefeller and the MoMA dictated the guidelines of the art that the Colombian painters, draftsmen and sculptors had to make in order to be included in the American dream. This proposal aims to critically review the magazine Lampara and the dynamics that Esso promoted during the Cold War in Colombia as one of its most unconditional allies, and how its contents affected the Latin American art scene.

La revista Lámpara y la “Cultura Esso” en Colombia: estrategias para pacificar el arte desde Washington.