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塞西莉亞·維庫納

In London, 1972 and Today

London

5月16日–2023年6月22日

Painting by Cecilia Vicuña

No.9 Cork Street

Mayfair, London W1S 3LL

Lehmann Maupin presents Cecilia Vicuña in London, 1972 and Today, an exhibition of new and historical work by the artist following her 2022—2023 Turbine Hall commission at Tate Modern. Revisiting a pivotal moment in Vicuña’s career, Cecilia Vicuña in London, 1972 and Today presents new and recent paintings, mixed-media works, historical ephemera, and recreations of lost work from the artist’s London years (1972—1975). Born and raised in Santiago, Chile, Vicuña relocated to London in 1972 to study at the Slade School of Fine Art; following dictator Augusto Pinochet’s violent military coup in Chile the next year, she sought asylum in the United Kingdom during immense violence, political turmoil, and cultural suppression in Chile. This presentation marks the fiftieth anniversary of both the violent 1973 military coup in Chile and the beginning of the artist’s exile from her home country. 

Vicuña’s time in London represents a crucial development in her expansive, multidisciplinary practice. During this period, she engaged with an international group of artistic peers and furthered her intensive interests in fusing art with activism. Responding to catastrophe and loss in Chile, Vicuña expanded her earlier precarious work in nature in Chile around issues of disappearance and impermanence as both political and aesthetic concerns. Vicuña studied at the Slade School of Fine Art and exhibited her work in a solo presentation at the Institute of Contemporary Arts in 1973. That same year, the artist published her groundbreaking first book, Saborami, with Beau Geste Press in Devon, where she encountered a number of fellow international artists such Carolee Schneeman and Ulises Carrión. Shortly after its release, Saborami became the subject of a BBC documentary, which was among the first widely broadcast pieces to introduce British audiences to the gravity of the Chilean political climate and the powerful activist and artistic resistance efforts that arose in response. A new edition of Saborami, among the first pieces of literature to address Salvador Allende’s death, will be released this fall with Book Works Publishing to mark the fiftieth anniversary of the coup. 

Installation view of Cecilia Vicuña at Lehmann Maupin London
Installation Views: 1/3
Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Nudo aplastado (Precarios), 2014

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Pájaro telefónico (Precarios), 2000

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Cielo bajo (Precarios), 2017

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Lapicitos New York (Precarios), 2017

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Cable amarillo (Precarios), 2015

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Clavo espiral (Precarios), 2009/2014

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Huso de piedra (Precarios), 2009

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Bolsita morada (Precarios), 2000

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Corteza con cola (Precarios), 2017

Installation view of Cecilia Vicuña at Lehmann Maupin London
Installation Views: 1/3
Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Triangulo escarpado (Precarios), 2017

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Palmas no palmas (Precarios), 2017

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Cohetes rari y paleta (Precarios), 2009

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Doble escoba curagüilla (Precarios), TBC

Precarios by Cecilia Vicuña

塞西莉亞·維庫納

Cruz balsa (Precarios), 2009

Portrait of Cecilia Vicuña

塞西莉亞·維庫納(1948年生於智利聖地亞哥, 現於紐約及聖地亞哥生活和工作)的創作融合了詩歌、表演、概念主義及紡織工藝,深入探討現代世界所熱切關注的議題,包括環境生態、人權和文化同質化。藝術家出生及成長於智利聖地亞哥。1970年代,智利軍方發動暴力軍事政變,把當時的薩爾瓦多·阿葉德(Salvador Allende)總統推倒,維庫納隨後被流放。這種無常的感覺及對智利土著歷史文化的敬意一直伴隨著藝術家,深深影響著她往後的藝術生涯。

維庫納於1960年代在智利生活期間,開始創作一系列名為「precarios」的小型雕塑,這種充滿詩意的作品使用了羽毛、石頭、塑料、木材、電線、貝殼、布以及其他人體毛髮。 她一般會使用繩子把這些小型雕塑輕輕的綁在一起,讓作品看似是自然地聯繫。作品的脆弱和短暫性尤其重要,維庫納初期更會在海邊創作,讓作品隨海浪隨意飄走。 同期,維庫納對古代的「奇普」(Quipus) 產生了興趣,「奇普」是一種印加文化中以彩色繩結紀事和交流的方法。她初次編織的經歷可追溯到70年代初,但不久之后她開始用羊毛製作獨特的「奇普」,作為一種短暫和場域特定的裝置作品,將編織和紡紗的儀式與聚會、詩歌和表演結合在一起。 相比維庫納其他作品,她在70年代創作的超現實具象繪畫更明顯地體現了其個人和政治色彩,對當時智利不明局勢和隨後被流放的經歷作出回應。另外,她的畫作也參考了16世紀拉丁美洲藝術家的創作精神。拉丁美洲被西班牙征服後,當地的畫家被迫為天主教會繪畫天使和聖人,但他們同時會創作一些微妙隱晦及具顛覆性的作品。在維庫納的畫作中,她以神話化的個人、政治和文學人物代替宗教偶像,以紀念他們。

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In London, 1972 and Today | Lehmann Maupin