Cecilia Vicuña Art

In this work, Vicuña depicts her boyfriend at the time, Chilean artist and writer, Claudio Bertoni, holding an open book of poetry in his left hand, while placing his hand over his h...

Full title: 'Unir a todo el pueblo contra la dictadura (Unite All the People against the Dictatorship)' Edition of 25. Work is sold unframed. Another edition of this work was exhi...

The title of the original painting, 'Leoparda de Ojitos,' translated as “leopardess of little eyes”, refers to the eyes that cover the animal’s body like the pores of her skin. Vicun...

Visual poems, the works in Vicuña’s 'PALABRARmas' series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña treats words as embodied entities whose forms can be parsed to reveal subliminal meanings across a variety of languages. For the series title, Vicuña has invented the word “palabrarmas,” a fusion of “palabra” (Spanish for “word”) and “armas” (“weapon”). At the same time, “palabrarmas” also suggests an even wider range of meanings, bearing similarities, for instance, to a portmanteau of the the verb “apalabrar” (“to agree on”), and the word “más” (more). Just as Vicuña emphasizes the capacity of words to cause violence and destruction, so she also suggests that they can be potent tools of reconciliation and understanding. In 'Sol y dar y dad' (1974/2016), Vicuña again looks to language as she considers notions of truth and community, and she extracts from “solidaridad” (Spanish for “solidarity”) the word “sol” (“sun”) and the Spanish verb “dar” (“to give”). Another edition of this work was exhibited as part of 'Cecilia Vicuña...

Visual poems, the works in Vicuña’s 'PALABRARmas' series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña treats words as embodied entities whose forms can be parsed to reveal subliminal meanings across a variety of languages. For the series title, Vicuña has invented the word “palabrarmas,” a fusion of “palabra” (Spanish for “word”) and “armas” (“weapon”). At the same time, “palabrarmas” also suggests an even wider range of meanings, bearing similarities, for instance, to a portmanteau of the the verb “apalabrar” (“to agree on”), and the word “más” (more). Just as Vicuña emphasizes the capacity of words to cause violence and destruction, so she also suggests that they can be potent tools of reconciliation and understanding. Another edition of this work was exhibited as part of 'Cecilia Vicuña...

Visual poems, the works in Vicuña’s 'PALABRARmas' series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña...

Visual poems, the works in Vicuña’s PALABRARmas series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña treats words as embodied entities whose forms can be parsed to reveal subliminal meanings across a variety of languages. For the series title, Vicuña has invented the word “palabrarmas,” a fusion of “palabra” (Spanish for “word”) and “armas” (“weapon”). At the same time, “palabrarmas” also suggests an even wider range of meanings, bearing similarities, for instance, to a portmanteau of the the verb “apalabrar” (“to agree on”), and the word “más” (more). Just as Vicuña emphasizes the capacity of words to cause violence and destruction, so she also suggests that they can be potent tools of reconciliation and understanding. Here, in Eman si pasión [Emancipation / Participation] (1974/2016), Vicuña turns her attentions to the Spanish words “emancipación” (“emancipation”) and “participación” (“participation”), and she emphasizes their etymologically related verbs “emanar” (“to emanate”) and “partir” (“to share”). With a play on words, Vicuña’s silkscreen also breaks these words down into component parts, drawing phonetic similarities to the words “si” (“if) and “pasión” (“passion”). Another edition of this work was exhibited as part of 'Cecilia Vicuña...

This work is a 'precario drawing,' from a body of work using Vicuña’s famous 'precario (precarious)' sculptures as the impetus. Each precario drawing incorporates line, gesture, and ...

This work is a 'precario drawing,' from a body of work using Vicuña’s famous 'precario (precarious)' sculptures as the impetus. Each precario drawing incorporates line, gesture, and ...

Cecilia Vicuña (b. 1948 in Santiago, Chile; lives and works in New York and Santiago) integrates practices of poetry, performance, Conceptualism, and te...

Cecilia Vicuña (b. 1948 in Santiago, Chile; lives and works in New York and Santiago) integrates practices of poetry, performance, Conceptualism, and te...

Edition of 10 Cecilia Vicuña (b. 1948 in Santiago, Chile; lives and works in New York and Santiago) integrates practices of poetry, performance, Concept...