|Fecha de nacimiento||1946|
|Formación profesional||Escuela de Bellas Artes de la Universidad de Los Andes.|
|País de nacimiento||Colombia }}|
|Ciudad de nacimiento||Pasto|
Alicia Viteri is a Colombian artist born in Pasto in 1946. She has lived in Panama since the nineteen seventies. Her work involves drawing, printmaking, photography, acrylic, and installation techniques. She uses personal and social elements to transform her works into dissertations and visual testimonies by resorting to analysis, sensitivity, criticism, and novelty.
Alicia Viteri was born in Pasto in 1946. Grieving the loss of her parents when she was yet a child, she sought distraction in escapades across the landscapes of Narino and in activities typical of children of her time, such as climbing trees and mountains. This stage of her childhood was central to the value and appreciation she would develop for nature, later to be captured in her art. After attending high school in Nariño, Viteri moved to Bogotá to pursue a higher education in art. In 1968, she held her first collective exhibition at the Centro Colombo Americano, and two years later, in 1970, she graduated from the School of Fine Arts at Universidad de Los Andes.
The nineteen seventies were special for the artist because she settled in Panama, where she presented her first individual exhibition. In 1972, she began teaching engraving courses at the University of Panama, which allowed her to open a graphics workshop at the school and implement the use of the burin and the engraving press. During this time and while teaching, she participated in several exhibition projects such as the II Biennial of Graphic Arts in Cali in 1973. In 1976 she exhibited at Casa de la Cultura in Quito. From 1977 to 1978, she resided in Ecuador.
Viteri’s artistic production began in the nineteen seventies when she focused on the popular, every day, ironic, and satirical aspects of human reality. The search for a personal aesthetic, motivated by her perception of the world, was a recurrent theme in these years. Her introduction of the techniques of engraving in the Panama university made it possible for her to train new generations of graphic artists and to take the initiative in innovative events such as the establishing of another engraving workshop in the Panamanian Institute of Art. Towards the end of the seventies, she exhibited at the Biennial of Graphic Art of Puerto Rico in 1979. In 1980, Viteri presented the project Once Grabados (Eleven Engravings) which brought together renowned Panamanian artists of the time. She then began directing the engravings department at Ediciones Panarte, published by the Panamanian institute. In 1982, she traveled to Cuba to study lithography at the Experimental Graphic Workshop in Havana and a year later, in 1983, she traveled to Spain to specialize in lithography at Blau, then returned to Panama and presented his work Espacios pictoricos (Pictorial Spaces), considered the first artistic installation in the country. A year later, she traveled to Colombia to participate in the Engraving Club in the city of Cali and in the Popayan Religious Music Festival. An important honor in her career was the National Prize for Painting at the XXX Colombian Artists’ Salon in 1986. In the early nineteen nineties, she suspended graphic work in engraving due to health problems. Five years later, she renewed her artistic approach, focusing on nature. Another five years later, in 2000, she began concentrating on digitalized photography.
Characteristics of her work
Through numerous personal and social encounters, Alicia Viteri's work functions as an inner mirror that analyzes, judges, and reflects on a variety of subjects, always with sensitivity, irony, and sarcasm. The artist has tackled multiple techniques ranging from drawing, acrylic, engraving, painting, digital photography, and installation. In graphic work, her capacity to democratize engraving and make it innovative in an artistic environment such as Panama is notable.
Another of Alicia Viteri's practices is collage, which she uses to bring together various tiny elements and convey a social and political message. In the nineties, she focused her work on immersion in landscape and nature, themes that were present in her childhood in Nariño, Colombia. Through this artistic conception, she captures illumination and chromatic range as tools to approach her personal interests.
In the early millennium, the artist reconceptualized her art. By 2000 she had already focused her attention on photography. Using technological tools such as professional editing programs, particularly Photoshop and Zbrush, she recreates old photographs to alter in them in a personal way.This new phase of her work is intended to explore her childhood and adolescent memories and her arrival in Panama, as well as the people who have surrounded her, a kind of autobiographical and personal compilation.
- 1983: Carnavales (Carnavals)
- 1984: Espacios pictóricos (Pictorial Spaces)
- 1984: El Zonián y la Vedette (The Zonian and the Vedette)
- 1985: Los hermanos de plomo (The Lead Siblings)
- 2000: Memoria digital (Digital Memory)
Works by Alicia Viteri in the Banco de la República Collections
|Los hermanos de plomo (The Lead Siblings)||1985||Reserve||Engraving||AP4007|
- 1946: Born in Pasto, Colombia.
- 1968: First group exhibition at the Centro Colombo Americano in Bogotá.
- 1970: Received a degree in fine arts from Universidad de los Andes. Participated in the Biennial of Young Artists at the Museum of Contemporary Art (MAC) in Bogotá.
- 1972: Settled in Panama. Taught engraving at the University of Panama.
- 1973: Participated in the II Biennial of Graphic Arts in Cali.
- 1976: Exhibited at Casa de la Cultura in Quito.
- 1977-1978: Resided in Ecuador.
- 1979: Returned to Panama and founded the engraving workshop of the Panamanian Art Institute (Panarte).
- 1982: Studied lithography at the Experimental Graphic Workshop in Havana.
- 1983: Traveled to Spain to specialize in lithography.
- 1986: Won the National Prize for Painting at the XXX Colombian Artists' Salon.
- 1992: Participated in the exhibition Human Figure in Latin American Art at The Americas Collection, Miami.
- 2002: Presented her digital photography project Memoria digital (Digital Memory).
- Obras de Alicia Veteri.
- Alicia Viteri donates her Works at Taminango Museum, El Tiempo
- Interview to Alicia Viteri, creator of earthlings.
- The landscapes of Alicia Viteri, Panamá América
- Tiempo, memoria y vida. Aproximación a la obra de Alicia Viteri https://villegaseditores.com/alicia-viteri-memoria-digital-tiempo-memoria-y-vida-aproximacion-a-la-obra-de-alicia-viteri#titulo
- Hechos y Vida. Alicia Viteri https://villegaseditores.com/alicia-viteri-memoria-digital-hechos-y-vida#titulo
1.De Picardi, Ángela. (2009). Memoria digital. Alicia Viteri. Bogotá: Villegas Editores.
2.Rodríguez, Marta. (1988). Alicia Viteri: el arte es vida. Arte en Colombia Internacional. (37), p. 80-83.
Banco de la República Art Collection
- Visit Alicia Viteri's work at Colección de arte
1.Research and text: Alejandro Lozano, mediator of Banco de la República museums and collections, for Banrepcultural.
2.Review and editing: Inti Camila Romero Estrada and Diana Marcela Salas Solórzano. Public and Educational Services, Art and Other Collections Unit (UAOC)