She called the fragile beach sculptures “precarios” (precarious things) and has made countless numbers over years, including more than 400 in 1971 as a personal gesture of protest to the anti-Indigenous Pinochet regime. Much of her art reflects this association. She also remembers standing on the beach one January day in 1966, still in her teens, and spontaneously gathering bits of tidal debris - sticks, shells, gull feathers - and arranging them, singly or tied together, upright in the sand in what must have been an altarlike configuration, which she associated with an ancient Indigenous presence.Īlthough her family history is almost entirely Spanish, she early on identified with Indigenous cultures and has been acutely aware of the damage, past and continuing, visited on them and their land, by European colonialism. Vicuña remembers her feet being blackened with oil when she waded in the sea there as a child. That, at least, is the impression created by this survey’s spotlighting of brash early 1970s pictures, which are followed by topically less specific ones, and then by what appears to be a different sort of art altogether: language-based, performative, abstract. In 1980, she relocated permanently to New York, which she had visited years before.įrom this point on, it would seem, her art changed, quieted down, became tamer. ( Allende shot himself rather than surrender, according to his doctor.) Vicuña stayed on in London until 1975 and then continued her self-exile closer to home by moving to Bogotá, Colombia. Augusto Pinochet to power and initiated a long, violent reign of anti-leftist suppression in Chile. It was while she was there that Allende was toppled in a right-wing military coup that brought Gen. Vicuña made these paintings as a graduate art student in London. Most ambitious of all is a figure-jammed six-panel screen covered with panoramic views of then-up-to-the-moment political events, from international antiwar and gay rights demonstrations to the efforts of Salvador Allende, Chile’s elected socialist president, to establish a pro-democracy government.
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Individual pictures she produced at this 1960s cusp moment include likenesses of Karl Marx and Janis Joplin. Teresa of Avila, Lao Tzu), and at least one painter, Vincent van Gogh. As a teenager she falls triply in love, with a boy, with nature, and with the art of writing, all passions that will sustain her.Ī painting titled “Amados (Loved Ones)” is a group portrait of figures who, up to that point, had shaped her intellectual and spiritual development, among them historical poets (William Blake, Arthur Rimbaud), saviors and saints (Jesus, the Buddha, St. At 11, we see her discovering an interest in dancing, performing.
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In a 1971 painting called “Autobiografía (Autobiography)” she depicts herself at different stages of childhood, as the independent-minded daughter of a middle-class, politically liberal family, which had a history of nurturing female artists. Examples, most modest in size and done in a spirited faux-naïve style inspired by religious folk art, popular political graphics, and 1960s psychedelia, line the two lower ramps of the museum’s rotunda and provide symbolic account of Vicuña’s life.
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What’s surprising about the show - organized by Pablo León de la Barra, the museum’s curator at large for Latin America, and Geaninne Gutiérrez-Guimarães, an associate curator at the Guggenheim Museum Bilbao - is the dominant presence it gives to painting, a medium not usually associated with this artist. All of this factors into her Guggenheim show, which has a scrappy, fragmented, improvised feel, exactly right for an artist who has deliberately avoided permanence and polish, and who once said of much of the most familiar art she has made: “We are made of throwaways, and we will be thrown away.”