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{{Infobox writer <!-- For more information see [[:Template:Infobox Writer/doc]]. -->
{{Infobox writer <!-- For more information see [[:Template:Infobox Writer/doc]]. -->
| name = Cecilia Vicuña
| name = Cecilia Vicuña
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| image = Cecilia-vicuna.jpg
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| birth_date = {{Birth date and age|1948|07|22}}
| birth_date = {{Birth date and age|1948|07|22}}
| birth_place = [[Santiago, Chile]]
| birth_place = [[Santiago, Chile]]
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| citizenship = United States
| education = University of Chile, Slade School of Fine Art at University College, London
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| genre = Poetry
| genre = Poetry, Visual Artist, Installation, Performance
| subject =
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| notableworks = Quipu Womb (The Story of the Red Thread, Athens) (2017),
A Ritual Performance by the Sea (2017), Maria Sabina (1986), Gabriela Mistral (1986), Muerte de Allende (Death of Allende, 1973), Fidel y Allende (1972)
, Angel de la Menstruación (Angel of menstruation, 1973), Lenin (1972), Karl Marx (1972), Precarios (1966-2017)
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'''Cecilia Vicuña''' (born July 22, 1948<ref>{{Cite news|url=http://www.mnba.cl/617/w3-article-29902.html|title=Biografía de Cecilia Vicuña - Museo Nacional de Bellas Artes|work=Museo Nacional de Bellas Artes|access-date=2017-03-08|language=es-LA}}</ref>) is a Chilean poet, artist, and filmmaker. Her work is noted for themes of language, memory, decay and exile.<ref>{{Cite web|url=https://www.poetryfoundation.org/poems-and-poets/poets/detail/cecilia-vicuna|title=Cecilia Vicuna|last=|first=|date=|website=Poetry Foundation|archive-url=|archive-date=|dead-url=|access-date=}}</ref> Critics also note the relevance of her work to the politics ecological destruction, [[cultural homogenization]], and economic disparity, particularly the way in which such phenomena disenfranchise the already powerless.<ref name=butler>{{cite book|last=Butler|title=WACK! Art and the Feminist Revolution|publisher=The MIT Press|isbn=0914357999|pages=312}}</ref>
'''Cecilia Vicuña''' (born July 22, 1948<ref>{{Cite news|url=http://www.mnba.cl/617/w3-article-29902.html|title=Biografía de Cecilia Vicuña - Museo Nacional de Bellas Artes|work=Museo Nacional de Bellas Artes|access-date=2017-03-08|language=es-LA}}</ref>) is a Chilean poet, artist, and filmmaker based in New York and Santiago. Her work is noted for themes of language, memory, decay and exile.<ref>{{Cite web|url=https://www.poetryfoundation.org/poems-and-poets/poets/detail/cecilia-vicuna|title=Cecilia Vicuna|last=|first=|date=|website=Poetry Foundation|archive-url=|archive-date=|dead-url=|access-date=}}</ref> Critics also note the relevance of her work to the politics ecological destruction, [[cultural homogenization]], and economic disparity, particularly the way in which such phenomena disenfranchise the already powerless.<ref name=butler>{{cite book|last=Butler|title=WACK! Art and the Feminist Revolution|publisher=The MIT Press|isbn=0914357999|pages=312}}</ref>Her commitment to feminist forms and methodologies is considered to be a unifying theme across her diverse body of work.<ref name=":0">{{Cite news|url=|title=Feminist Forms|last=Bryan-Wilson|first=Julia|date=January/February 2018|work=Flash Art|access-date=|archive-url=|archive-date=|dead-url=}}</ref>


== Life ==
== Life ==
Line 51: Line 52:


== Publications ==
== Publications ==
Vicuña has authored and published sixteen books of her visual art installations and poetry books, most of which have been translated into several languages.<ref name="um" /> These include ''Saboramí'' (1973), a book made in collaboration with Felipe Ehrenberg that resembles a personal diary,<ref>{{cite web|url=http://www.cambriapress.com/cambriapress.cfm?template=4&bid=623&CFID=65944893&CFTOKEN=47341070|title=Contemporary Hispanic Poets: Cultural Production in the Global, Digital Age By John Burns|website=www.cambriapress.com}}</ref> ''The Precarious/Precario'' (1983), ''Cloud Net'' (2000),<ref>{{cite book|last=Vicuña|title=Cloud Net|publisher=Art in General NYC|isbn=1883967104}}</ref> Instan (2002)<ref>{{cite book|last=Vicuña|title=Instan|publisher=Kelsey Street Press|isbn=0932716504}}</ref> and ''Spit Temple'' (2010),<ref>{{cite book|last=Vicuña|title=Spit Temple|publisher=Ugly Duckling Presse|isbn=1937027031}}</ref> a collection of her oral performances. In 2009 she co-edited the ''Oxford Book of Latin American Poetry'' with Ernesto Livon Grosman, an anthology of 500 years of Latin American Poetry,<ref>{{cite book|last=Vicuña and Grosman|title=The Oxford Book of Latin American Poetry|publisher=Oxford University Press|isbn=0195124545}}</ref> which the ''Washington Post'' called "magisterial".<ref>{{cite web|url=http://voices.washingtonpost.com/postpartisan/2009/04/what_chavez_should_have_given.html|title=PostPartisan - What Chavez Should Have Given Obama|publisher=}}</ref>
Vicuña has authored and published dozens of books<ref name=":0" /> of her visual art installations and poetry books, most of which have been translated into several languages.<ref name="um" /> These include ''Saboramí'' (1973), a book made in collaboration with Felipe Ehrenberg that resembles a personal diary,<ref>{{cite web|url=http://www.cambriapress.com/cambriapress.cfm?template=4&bid=623&CFID=65944893&CFTOKEN=47341070|title=Contemporary Hispanic Poets: Cultural Production in the Global, Digital Age By John Burns|website=www.cambriapress.com}}</ref> ''The Precarious/Precario'' (1983), ''Cloud Net'' (2000),<ref>{{cite book|last=Vicuña|title=Cloud Net|publisher=Art in General NYC|isbn=1883967104}}</ref> ''Instan'' (2002)<ref>{{cite book|last=Vicuña|title=Instan|publisher=Kelsey Street Press|isbn=0932716504}}</ref> and ''Spit Temple'' (2010),<ref>{{cite book|last=Vicuña|title=Spit Temple|publisher=Ugly Duckling Presse|isbn=1937027031}}</ref> a collection of her oral performances. In 2009 she co-edited the ''Oxford Book of Latin American Poetry'' with Ernesto Livon Grosman, an anthology of 500 years of Latin American Poetry,<ref>{{cite book|last=Vicuña and Grosman|title=The Oxford Book of Latin American Poetry|publisher=Oxford University Press|isbn=0195124545}}</ref> which the ''Washington Post'' called "magisterial."<ref>{{cite web|url=http://voices.washingtonpost.com/postpartisan/2009/04/what_chavez_should_have_given.html|title=PostPartisan - What Chavez Should Have Given Obama|publisher=}}</ref>


== Visual Art and Exhibitions ==
== Visual Art and Exhibitions ==

Revision as of 20:37, 3 February 2018

Cecilia Vicuña
Born (1948-07-22) July 22, 1948 (age 76)
Santiago, Chile
NationalityChile
CitizenshipUnited States
EducationUniversity of Chile, Slade School of Fine Art at University College, London
GenrePoetry, Visual Artist, Installation, Performance
Notable worksQuipu Womb (The Story of the Red Thread, Athens) (2017), A Ritual Performance by the Sea (2017), Maria Sabina (1986), Gabriela Mistral (1986), Muerte de Allende (Death of Allende, 1973), Fidel y Allende (1972)
, Angel de la Menstruación (Angel of menstruation, 1973), Lenin (1972), Karl Marx (1972), Precarios (1966-2017)

Cecilia Vicuña (born July 22, 1948[1]) is a Chilean poet, artist, and filmmaker based in New York and Santiago. Her work is noted for themes of language, memory, decay and exile.[2] Critics also note the relevance of her work to the politics ecological destruction, cultural homogenization, and economic disparity, particularly the way in which such phenomena disenfranchise the already powerless.[3]Her commitment to feminist forms and methodologies is considered to be a unifying theme across her diverse body of work.[4]

Life

Vicuña was born and raised in Santiago de Chile in 1948, but went into exile in London in 1973 following the death of President Salvador Allende and the 1973 Chilean coup d'état led by General Augusto Pinochet.[5][6]

In 1980, Vicuña moved to New York City.[5]

Performance

Cecilia Vicuña was part of a group of artists and poets, Tribu No, that created art actions in Santiago de Chile from 1967 to 1972. She gave the group its name and authored its "No Manifesto."[7][8]

She performs her poetry internationally, frequently in conjunction with exhibitions or art installations, and documents her performances in videos, the Vicuña audio page[9] at Pennsound, and the 2012 collection Spit Temple: The Selected Performances of Cecilia Vicuna[10] which includes transcriptions, commentary, and audience commentaries.

Publications

Vicuña has authored and published dozens of books[4] of her visual art installations and poetry books, most of which have been translated into several languages.[11] These include Saboramí (1973), a book made in collaboration with Felipe Ehrenberg that resembles a personal diary,[12] The Precarious/Precario (1983), Cloud Net (2000),[13] Instan (2002)[14] and Spit Temple (2010),[15] a collection of her oral performances. In 2009 she co-edited the Oxford Book of Latin American Poetry with Ernesto Livon Grosman, an anthology of 500 years of Latin American Poetry,[16] which the Washington Post called "magisterial."[17]

Visual Art and Exhibitions

Vicuña creates "precarious works;" characteristic of Vicuña's work is her use of materials that are often fragile, worn by the elements and/or biodegradable: the return to the environment.[3] She describes her work as a way of "hearing an ancient silence waiting to be heard."[11] In 1966 she began creating sculptural interventions called precarios, combining ritual and assemblage and typically throw-away materials such as yarn, sticks, feathers, leaves, stones and bones.[3] Linked to the sacred wild Andean vicuña animal by name, Cecilia Vicuña utilized the wool of these animals for her Cloud-Net installation series as a metaphoric tool. The visual language of this series resulted in large-scale warp and weft installations within rural and urban environments—weavings—thus linking Vicuña to the Feminist Art Movement's Pattern and Decoration Movement.[18] Vicuña refers to these fiber installations as quipus, referencing the indigenous writing systems suppressed by Spanish colonizing forces. Unlike transportable pre-Columbian quipus, Vicuña's quipus are integrated into the landscape or the gallery in which they appear.[19]

Museums that have exhibited her work include the Museo Nacional de Bellas Artes de Santiago, the Institute of Contemporary Arts (ICA), Art in General, New York City, the Whitechapel Art Gallery in London, the Whitney Museum of American Art, the University of California, Berkeley Art Museum, and MoMA, the Museum of Modern Art in New York.[5][11] In 2017, her work was included in both the Athens and the Kassel sites of documenta 14.[20]

References

  1. ^ "Biografía de Cecilia Vicuña - Museo Nacional de Bellas Artes". Museo Nacional de Bellas Artes (in Spanish). Retrieved 2017-03-08.
  2. ^ "Cecilia Vicuna". Poetry Foundation. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  3. ^ a b c Butler. WACK! Art and the Feminist Revolution. The MIT Press. p. 312. ISBN 0914357999.
  4. ^ a b Bryan-Wilson, Julia (January/February 2018). "Feminist Forms". Flash Art. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |dead-url= (help)
  5. ^ a b c "BAMPFA - Art Exhibitions - Cecilia Vicuña / MATRIX 154". archive.bampfa.berkeley.edu. Retrieved 2017-03-28.
  6. ^ Zegher. The Precarious: The Art and Poetry of Cecilia Vicuña. Wesleyan University Press. p. 7. ISBN 0-8195-6324-2.
  7. ^ Vicuna, Cecilia (1967). "The No Manifesto of Tribu No". Make Literary Magazine. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  8. ^ "La Tribu No". Memoria Chilena. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  9. ^ Vicuña, Cecilia. "Cecilia Vicuña". PennSound. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  10. ^ Vicuña, Cecilia (2012). Spit Temple: The Performances of Cecilia Vicuña. New York: Ugly Duckling Press. ISBN 1937027031.
  11. ^ a b c "Welcome to the SiteMaker Transition Project - Sitemaker Replacement Project". sitemaker.umich.edu.
  12. ^ "Contemporary Hispanic Poets: Cultural Production in the Global, Digital Age By John Burns". www.cambriapress.com.
  13. ^ Vicuña. Cloud Net. Art in General NYC. ISBN 1883967104.
  14. ^ Vicuña. Instan. Kelsey Street Press. ISBN 0932716504.
  15. ^ Vicuña. Spit Temple. Ugly Duckling Presse. ISBN 1937027031.
  16. ^ Vicuña and Grosman. The Oxford Book of Latin American Poetry. Oxford University Press. ISBN 0195124545.
  17. ^ "PostPartisan - What Chavez Should Have Given Obama".
  18. ^ Broude and Garrard. The Power of Feminist Art. Abrams, Inc. Publishers. p. 208. ISBN 0810937328.
  19. ^ Lynd, Juliet (2005). "Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña". PMLA. 120 (5): 1588–1607.
  20. ^ "Cecilia Vicuña". Retrieved 2018-02-03.
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