Diferencia entre revisiones de «Alicia Barney Caldas/en»

De Enciclopedia | La Red Cultural del Banco de la República
(Página creada con «==Biography==»)
Sin resumen de edición
 
(No se muestran 38 ediciones intermedias del mismo usuario)
Línea 27: Línea 27:
==Biography==
==Biography==


===Trayectoria artística===
===Artistic Career===
Alicia Barney se formó durante la década del setenta en Nueva York, lo que le permitió conocer de primera mano las discusiones teóricas que propiciaron uno de los principios del arte contemporáneo, la desmaterialización de la obra de arte. Este conocimiento le permitió comprender la emblemática exposición Ecological Art, que tuvo lugar en 1969 en la Galería Gibson, donde Christo, Hutchinson y Oldenburg presentaron sus trabajos dentro de esta corriente reflexiva.  
 
Al terminar sus estudios, Barney decidió regresar a la capital vallecaucana para desarrollar su trabajo profesional. A su llegada, se contactó con Miguel González quien, sin dudarlo, propició que realizara su primera exposición en Colombia en la Universidad del Valle, tal como lo refiere el mismo González en entrevista con María Wills:
Alicia Barney was trained during the seventies in New York, which allowed her to learn first-hand about the theoretical discussions that led to one of the principles of contemporary art: the dematerialization of the work of art. This knowledge allowed her to understand the emblematic exhibition Ecological Art, which took place in 1969 at Gibson Gallery, where Christo, Hutchinson, and Oldenburg presented their works within this reflexive current.
After finishing her studies, Barney decided to return to the capital city of Valle del Cauca in Colombia to develop her professional work. Upon her arrival, she contacted Miguel González, who without hesitation encouraged her to prepare her first exhibition in Colombia at Universidad del Valle, as González himself told Maria Wills in an interview:  
“''Alicia Barney hizo su primera exposición individual en Colombia, en la Universidad del Valle cuando yo estaba dirigiendo las exposiciones ahí, que era sobre el “''Diario objeto''”. Algo totalmente diferente a lo que se había visto antes. Me llamo Benjamín Barney, (que se había casado con María de la Paz Jaramillo), y yo estaba ya en la Universidad del Valle, y me dijo''” “''Mire, yo tengo una hermana que hace escultura, y que se vino a vivir a Cali después de estudiar en EE.UU. Entonces yo me imaginaba pues unas porcelanas, unas bailarinas, unos bustos, pero dije no me voy a meter en un lío aquí con Benjamín y le dije que viniera a mostrarme su trabajo (…) Y entonces apareció ella con su portafolio, con todas sus basuras colgadas, ¿no? Y todas esas cosas que para Colombia eran rarísimas, entonces yo le dije ¿Cuándo quiere la exposición?”. (Wills, 2016).
 
“''Alicia Barney had her first solo exhibition in Colombia, at Universidad del Valle when I was directing the exhibitions there. It was about the Object-Diary, something totally different from what had been seen before. Benjamín Barney (who had married María de la Paz Jaramillo) called me, and I was already at Universidad del Valle, and he told me''”  “''Look, I have a sister who does sculpture, and she came to live in Cali after studying in the United States. So I imagined some porcelains, some dancers, some busts, but I said I'm not going to get into trouble here with Benjamin, and I told her to come and show me her work [...] And then she showed up with her portfolio, with all her junk hanging out, right? All those things that for Colombia were very strange. So I said, "When do you want the exhibition?” (Wills, 2016).
 
Alicia Barney was trained during the seventies in New York, which allowed her to learn first-hand about the theoretical discussions that led to one of the principles of contemporary art: the dematerialization of the work of art. This knowledge allowed her to understand the emblematic exhibition Ecological Art, which took place in 1969 at Gibson Gallery, where Christo, Hutchinson, and Oldenburg presented their works within this reflexive current.
After finishing her studies, Barney decided to return to the capital city of Valle del Cauca in Colombia to develop her professional work. Upon her arrival, she contacted Miguel González, who without hesitation encouraged her to prepare her first exhibition in Colombia at Universidad del Valle, as González himself told Maria Wills in an interview:
 
“''Alicia Barney had her first solo exhibition in Colombia, at Universidad del Valle when I was directing the exhibitions there. It was about the Object-Diary, something totally different from what had been seen before. Benjamín Barney (who had married María de la Paz Jaramillo) called me, and I was already at Universidad del Valle, and he told me "Look, I have a sister who does sculpture, and she came to live in Cali after studying in the United States. So I imagined some porcelains, some dancers, some busts, but I said I'm not going to get into trouble here with Benjamin, and I told her to come and show me her work [...] And then she showed up with her portfolio, with all her junk hanging out, right? All those things that for Colombia were very strange. So I said, "When do you want the exhibition?” (Wills, 2016).
 
With that first exhibition, Barney saw the public's resistance to new artistic proposals, expressed without respect. According to the artist, they scribbled insults onto the work and around it. These gestures of incomprehension demonstrated the innovative character of the artist, who from her first exhibition became part of the group of young creators who were renewing the national art scene by working with marginal materials and elements from everyday life. This position was consolidated with her inclusion in the fifth version of the Atenas Salon at the Bogotá Museum of Modern Art in 1979, where she exhibited one of her daily objects, this time Bocagrande I and Bocagrande II. Although her works had already been criticized in Cali as a result of the public’s total incomprehension, in Bogotá the criticism became even stronger. Marta Traba, the protagonist, and leader of the arts scene in the country since the nineteen fifties, spoke out forcefully against the direction in which new curators were taking Colombian art:
 
“''Not unrelated is the dominant tone that Colombian art has been taking in the hands of Eduardo Serrano at the Bogota Museum of Modern Art, Miguel Gonzalez in Cali, Alvaro Barrios in Barranquilla, and Alberto Sierra in Medellin, who have supported what they consider to be the avant-garde—that is, the use of systems other than the traditional media of painting, sculpture, and graphic art—in such an enthusiastic and exclusive way as to discourage anyone who dares to dissent (Quoted by González in an interview with Wills, 2016).''”
 
The formal results consolidated in a painting, sculpture, or graphic work of art were being cast aside to make room for process art, in which the important thing was not the formal solution but the idea. Barney was embedded in artistic productions that were the result of conceptual questions. For this reason, Álvaro Barrios included her in Arte para los años ochenta (Art for the Eighties), an exhibition that opened in 1980.
Despite the resistance from the public, and at times form the field of art itself, Barney's work was again recognized in 1980, when she received the First Prize at the III Regional Visual Arts Salon in Cali for the same work with which she had participated in the Atenas Salon. That same year, she dared to do something that no artist had proposed in recent years, when various government voices all promulgated that the economic development of the country was to be found in the exploitation of its natural resources and industrialization. She decided to follow her sense of smell, wanting to know where the nauseating smell that surrounded her family farm and that of many other families in Yumbo came from. People from time to time asked about the reason for the smell, to which people naturally responded: "This is what Yumbo smells like." What was that smell that had become normal in the industrial capital of Valle del Cauca? This question was the starting point for Yumbo (1980), one of Barney’s most emblematic works, first exhibited at La Tertulia Museum of Modern Art in 1980. Members of the Administrative Department of Security arrived, because the work was—while not explicitly—a denunciation of the cement company that had operated in the municipality since the forties:
 
“''You could recognize them by the clothes they wore, the little shirts and the denim pants. There were three guys and they started to surround me and attack me. The only way out was to tell them that the polluted air was not only in Yumbo but that the air was circulating and that all that pollution would travel to the islands of the owners of Cementos del Valle. Suddenly they fell silent and left. Being an environmentalist is a subversive act for many. The more so at that time. That's why there is talk of radical environmentalists (Barney, 2015). ''”
 
The following year, while already a professor at Universidad del Cauca, Barney formed an interdisciplinary team with a biologist and a photographer with whom she traveled to different points along the Cauca River to take samples of its water and speak out against its contamination. This initiative gave rise to the Cauca River project. When Barney exhibited the piece, it was harshly criticized by her students, who were still ignorant of the procedures employed, ones that would later connect artistic practice with ethnography. Although it would be going too far to say that her works were the result of scientific rigor, Barney did take elements of research to make her work a document of denunciation.


Respecto a esa primera exposición, Barney ha evidenciado la resistencia del público a nuevas propuestas artísticas, lo cual expresaban sin ningún tipo de respeto, pues, tal como afirma la artista, dejaban insultos pegados a la obra o alrededor de ella. Este gesto de incomprensión evidenciaba el carácter innovador de la artista, quien a partir de su primera exhibición pasó a hacer parte del grupo de jóvenes creadores que renovaban la escena artística nacional al trabajar con materiales y elementos tomados de una cotidianidad marginal. Esto se consolidó con su inclusión en la quinta versión del Salón Atenas en el Museo de Arte Moderno de Bogotá en 1979, en donde expuso uno de sus diarios objetos, esta vez Bocagrande I y II. Si bien sus obras ya habían sido criticadas en Cali por su carácter completamente incomprensible para el público, en Bogotá las críticas se tornaron aún más fuertes, pues Marta Traba, quien había ejercido el protagonismo y dirección de las artes en el país desde la década del cincuenta, se pronunció completamente en contra de la dirección que estaban dando los nuevos curadores al arte colombiano:
Between 1981 and 1982, she produced El ecológico, a newspaper of ten unique editions, each one consisting of forty original pages from various other newspapers in the country that Barney had been collecting for a long time. She asked Jorge Cachiotis, a history student, to classify the material by opposing themes according to his understanding of the state of the twenty themes into which the student had classified the material. Cachiotis wrote the titles Endangered Species and Non-Endangered Species on stamps with green ink. Among the themes were traditional customs, farmers, animals, human diversity, trees, water, sea, architecture, landscape, fresh food, canned food, atomic energy, clean energy, woman as an object, and woman as an individual.   
“''No es ajeno a ello el tono dominante que ha ido tomando el arte colombiano en manos de Eduardo Serrano en el Museo de Arte Moderno de Bogotá, de Miguel González en Cali, de Álvaro Barrios en Barranquilla, y de Alberto Sierra en Medellín, quienes han apoyado lo que consideran vanguardia. Es decir, el empleo de sistemas diferentes a los soportes tradicionales de pintura, escultura y gráfica, de un modo tan entusiasta y excluyente, como para descorazonar a todo aquel que se atreva a disentir''” (Citado por González en entrevista con Wills, 2016)
De este modo, se dejaba de lado el resultado formal que se consolidaba en una pintura, escultura o gráfica, para dar lugar al arte de proceso, en el que lo importante no eran las soluciones formales sino las ideas. Entonces, Barney quedó inscrita en las producciones artísticas resultado de preguntas conceptuales. Por esta razón, Álvaro Barrios la incluyó en Arte para los años ochenta, exposición inaugurada en 1980.
A pesar de la resistencia del público y de algunas instancias del campo del arte, la obra de Barney fue de nuevo reconocida en 1980, cuando le fue otorgado el Primer Premio del III Salón Regional de Artes Visuales en Cali por la misma obra con la que había participado en el Salón Atenas. Ese mismo año, se atrevió a hacer algo que ningún artista se había propuesto durante los últimos años en los que la voz cantante de los diferentes gobiernos promulgaba que el desarrollo económico del país estaba en la explotación de sus recursos naturales y la industrialización. Decidió hacerle caso a su olfato que quería saber de dónde provenía el olor nauseabundo que rodeaba la finca de su familia y la de muchas otras familias en Yumbo y fue preguntando de tanto en tanto la razón del olor, a lo que las personas le respondían con naturalidad: “''Es que Yumbo huele así''”. ¿Qué era lo que olía así en la capital industrial del Valle del Cauca y había sido naturalizado por los residentes del lugar? Esta pregunta fue el punto de partida para Yumbo (1980) una de sus obras más emblemáticas que fue expuesta por primera vez en el Museo de Arte Moderno La Tertulia en 1980, a donde llegaron agentes del DAS, debido a que su obra era, sin decirlo directamente, una denuncia a la cementera que existía en el municipio desde la década del cuarenta:
Uno los reconocía por la ropa que llevaban, las camisitas y los pantalones de dril. Eran tres tipos y empezaron a rodearme y a atacarme. La única salida que tuve fue decirles que ese aire contaminado no era solo de Yumbo sino que el aire circula y que toda esa polución se iría viajando hacia las islas de los dueños de Cementos del Valle. De repente se callaron y se fueron. Es que ser ambientalista es un acto subversivo para muchos. Más en esa época. Por eso se habla de ambientalistas radicales (Barney, 2015).
Al año siguiente, siendo ya docente de la Universidad del Cauca, Barney conformó un equipo interdisciplinar con un biólogo y un fotógrafo con quienes viajó a distintos puntos del Río Cauca para tomar muestras de su agua y denunciar su contaminación, lo que originó la obra Río Cauca. Cuando exhibió la pieza, fue criticada duramente por sus estudiantes, quienes aún ignoraban los procedimientos empleados que posteriormente, vincularían la práctica artística con la  etnografía. Si bien no se puede afirmar que sus obras fueran el resultado de una rigurosidad científica, tomó elementos de la investigación para hacer de su obra un documento de denuncia.
Entre 1981 y 1982 produjo El ecológico, un periódico conformado por diez ediciones únicas, cada uno conformada por cuarenta páginas originales de las editoriales de diferentes periódicos del país que, durante largo tiempo Barney estuvo recolectando. Le pidió a Jorge Cachiotis, un estudiante de historia, que clasificara el material por temas opuestos y de acuerdo a su forma de entender el estado en el que se encontraban los veinte temas en los que el estudiante había clasificado el material, puso los títulos Especies en peligro de extinción y Especies sin peligro de extinción en sellos con tinta verde. Entre los temas se encontraban costumbres tradicionales, campesinos, animales, diversidad humana, árboles, agua, mar, arquitectura, paisaje, alimentos frescos, alimentos enlatados, energía atómica, energía limpia, mujer como objeto y mujer como individuo.   


Otra obra relevante dentro de su trabajo es la instalación Sin título, con la que participó en la exposición colectiva Aspectos de lo tridimensional en el Museo de Arte Moderno La Tertulia en Cali, a cargo de Miguel González cuyo objetivo era evidenciar el modo en que se había transformado la manera de abordar el objeto y la escultura en el arte colombiano durante la segunda mitad del siglo XX. En la enigmática obra de Barney, el espectador se encontraba con tres estructuras metálicas forradas con lona rústica y podía subir las escaleras que había en cada una de ellas para ver su contenido. En una se podía ver una caja de acrílico, a su vez llena con cajas pequeñas con semillas de árboles tropicales; en otra pendía un galón de pintura color verde clorofila que derramaba la pintura; mientras la tercera estaba completamente llega llena de cáscaras de huevos de gallina.  
Another relevant work of Barney’s is the installation Sin título (Untitled), with which she participated in the collective exhibition Aspectos de lo tridimensional (Aspects of the Three-Dimensional) at La Tertulia Museum of Modern Art in Cali, curated by Miguel Gonzalez whose objective was to show how the manner of approaching objects and sculpture had been transformed in Colombian art during the second half of the twentieth century. In Barney's enigmatic work, the viewer was confronted with three metal structures covered with rustic canvas and could climb the stairs in each of them to discover their contents. One contained an acrylic box, in turn filled with small boxes with the seeds of tropical trees; in another hung a gallon of chlorophyll-green paint leaking, while the third was filled with chicken eggshells.  


En cuanto a Estratificación de un basurero utópico (1987) se evidencia que, si bien el objetivo de las obras conceptualistas no es un resultado formal, igualmente requieren una solución material, tal como lo refiere la artista respecto a esta obra:  
Although the objective of the conceptualist works is not a formal result, they still require a material solution, as evident in Estratificación de un basurero utópico (Stratification of a Utopian Dump), 1987. Regarding this work the artist stated:  


Realizada por primera vez en 1987 en Cali. Median 5 cm de diámetro por 1.80 cm de alto. Fueron 10 tubos de acrílico construidos artesanalmente calentando cada pieza en un horno de panadería, al sacarlo se envolvía en unas cobijas alrededor de un tubo de PVC estas piezas luego se unían a lo largo y se pegaban y luego se unían dos para lograr la altura de 1.80 cm. Los materiales se colectaron al borde de la carretera arriba en Piedras Blancas cerca a los Farallones de Cali. La basura se colectó durante seis meses en cubos de plástico. El borde de la carretera presentaba claramente la estratificación que yo buscaba. Piedras grandes abajo, seguidas de piedras más pequeñas, arenas, y tierras de colores hasta llegar a la capa vegetal. Luego se introdujo la basura y se selló con purba (carbón vegetal) y arena fina como indican las fórmulas para sellar la basura y a los pocos años poder sembrar en el basurero. La basura es toda biodegradable. Por eso el Utópico del título. Esta obra fue expuesta en Bogotá en la entonces Garcés Velázquez. Luego se envió a Medellín para la Bienal y allí se colocaron los tubos contra la pared para luego fijarlos. Salí a almorzar convencida de nadie entraría pues estaba prohibido hacerlo sin embargo un artista francés al otro lado del tabique decidió entrar y proceder a clavar sus fotos y plantas y tumbó todos los tubos destruyendo la mayoría, pues el acrílico se rompe, aunque sea más resistente que el vidrio (Barney, 2015).
“''First performed in 1987 in Cali. They were 5 cm in diameter and 1,80 cm tall. There were 10 acrylic tubes built by hand by heating each piece in a bakery oven. When taken out there were wrapped in some blankets around a PVC tube. These pieces were then joined lengthwise and glued and then two were joined to achieve the height of 1,80 cm. The materials were collected at the roadside up past Piedras Blancas near Farallones in Cali. The garbage was collected for six months in plastic buckets. The roadside clearly presented the stratification I was looking for. Large stones below, followed by smaller stones, sand, and colored soil until the vegetation layer was reached. Then the garbage was introduced and sealed with purba (charcoal) and fine sand as indicated by the formulas for how you seal garbage so you can plant the dump a few years later. The garbage is all biodegradable. That is why utopia is in the title. This work was exhibited in Bogotá at the then Garcés Velázquez Gallery. Then it was sent to Medellín for the biennial and there the tubes were placed against the wall and fixed. I went out for lunch convinced that no one would enter, but a French artist on the other side of the wall decided to go in and nail his photos and plants to the wall, and he knocked down all the tubes, destroying most of them, since acrylic breaks, even though it is more resistant than glass (Barney, 2015).''”
   
   
Aunque en su momento estas obras no tuvieron todo el reconocimiento que merecían, durante los últimos años, artistas, críticos y curadores se han interesado por evidenciar la importancia del trabajo desarrollado por Barney. Al respecto se puede mencionar la invitación que le hizo Wilson Díaz en 2008, en el 41 Salón Nacional de artistas, a realizar una segunda versión de Yumbo. En 2014 volvió a ejecutar su obra Estratificación de un basurero utópico, y el Museo Nacional le compró dos de los tubos que hacían parte de esta nueva versión, mientras 8 más fueron adquiridos por un coleccionista particular. En 2016 su obra Sin título (1984) fue incluida en la curaduría Fuerzas invisibles: exposición a partir de la primera asamblea de críticos frente a la crisis del No-objetualismo, hecha por Ericka Flórez y Pablo León de la Barra para Referentes en ARTBO y en 2017 su obra El ecológico (1981) fue incluida en la curaduría 33 Revoluciones realizada por Sylvia Suárez para Referentes ARTBO.
Although at the time these works did not receive all the recognition they deserved, over the last few years artists, critics, and curators have become interested in highlighting the importance of Barney’s work. The invitation by Wilson Diaz in 2008 to the 41st National Artists’ Salon to make a second version of Yumbo is among these efforts. In 2014, Barney returned to execute the work Stratification of a Utopian Dump, and the National Museum bought two of the tubes from the new version, while eight more were acquired by a private collector. In 2016, her work Untitled (1984) was included in Fuerzas invisibles: exposición a partir de la primera asamblea de críticos frente a la crisis del No-objetualismo (Invisible Forces: Exhibition from the first assembly of critics addressing the crisis of non-object art) by Ericka Flórez and Pablo León de la Barra for the Referentes section at ARTBO. In 2017, her work El ecológico (1981) was included in the selection 33 Revoluciones (33 Revolutions) by Sylvia Suárez for ARTBO Referentes.


Si bien el reconocimiento del trabajo de Barney se ha concentrado en su producción de la década del ochenta, actualmente la artista continúa desarrollando sus obras.
While recognition of Barney's work has focused on her production in the eighties, the artist continues to develop her work today.


===Características de su obra===
===Characteristics of her work===


Miguel González encontró en el trabajo de Alicia Barney una reinterpretación del paisaje, ya no se trataba de pinturas bucólicas ni románticas observadas por la mirada estetizante del artista de principios del siglo XX, sino de una mirada inquisitiva, cuestionadora y provocadora.  
Miguel Gonzalez found in Alicia Barney's work a reinterpretation of the landscape, no longer bucolic, romantic paintings observed through the aesthetic gaze of early twentieth century artists, but rather an inquisitive, questioning, and provocative gaze.
En su trabajo, la idea reemplaza el resultado de un objeto único, para transformarse en un proceso en el que los materiales son significantes de la idea misma, que no es materia abstracta, sino parte de la realidad misma, observada a través de su perspectiva crítica. Los materiales no son empleados como metáforas, sino como índices, como principio de realidad en donde acuñó la idea que es captada por la “''artista chamán''”, capaz de interpretarlos como elementos anómalos, cuando ya habían sido demasiado naturalizados:
In Barney’s work, the concept replaces the object. The result is instead a process in which the materials signify the idea itself, which is not abstract matter, but part of reality, observed through her critical perspective. Materials are not used as metaphors, but as indexes, as a principle of reality where she coined the idea of the "shaman artist," one capable of interpreting them as anomalous elements, when they had already been over-naturalized:


“''Me interesa el significado directo de los objetos y la realidad. No me concierne mucho las intervenciones llamadas estéticas, ni conmovedoras. Seguramente lo que me atrae más es la relación que sostengo con los objetos. No se puede olvidar que permanecemos en una sociedad del consumo. Algunas personas siguen haciendo cuadros enmarcables y esculturas de pedestal, es decir, la antigua definición del arte. No se puede desconocer el momento histórico, es inútil continuar con las técnicas del siglo XX. Yo pienso en un arte que desafíe y se salta las vías burocráticas de la sociedad impotente, consumidora e ignorante (González, 1979)''”.
“''I am interested in the direct meaning of objects and reality. I am not concerned with so-called aesthetic or touching interventions. Probably what attracts me most is the relationship I have with the objects. We cannot forget that we remain in a consumer society. Some people still make framed paintings and sculptures on plinths—that is, the old definition of art. We cannot ignore our historical moment; it is useless to continue with the techniques of the twentieth century. I’m thinking about art that challenges and goes around the bureaucratic paths of consumer society in its impotent ignorance" (González, 1979).''”  


Así, creaba sus obras a partir de la recolección crítica e intuitiva de los detritos de las prácticas culturales de la sociedad de consumo que recién empezaba a manifestar su capacidad devastadora a inicios de la década del ochenta. Barney introdujo una mirada que solo hoy empieza a estar presente en las reflexiones contemporáneas, la relación de las ciudades con el medio ambiente, su relación íntima y perjudicial. A modo de etnógrafa, empezó a reconocer y recorrer el espacio como una recolectora de información, sin una dirección fija, tan solo como un testigo de un acontecer cotidiano y sus diarios eran una colección de basura y restos de la huella humana en el espacio:
Barney thus created works from the critical and intuitive collection of the detritus of the cultural practices of a consumer society that was just beginning to manifest its devastating capacity in the early eighties. She provided a gaze that we are only beginning to see in contemporary reflections, the relationship between cities and the environment, their intimate and harmful relationship. As an ethnographer, she began to recognize and travel through space as a collector of information, without a fixed address, only as a witness to everyday events, and her diaries were a collection of garbage and traces of the human footprints in space:


“''En un intento que fue maravilloso como experiencia, yo actuaba como un chamán al recoger los objetos. No recogía todos los que veía, estaba viviendo en un estado de conciencia distinto, no el normal de todos los días. Sin embargo, debo aclarar que no estaba bajo los efectos de ninguna droga, sino más bien viviendo con una enorme intensidad. Este estado se ha repetido varias veces en mis obras. Luego cuando redactando mi tesis encontré información sobre La tienda de Claes Oldenburg, fue maravilloso porque allí estaba mi vivencia traducida a ideas en palabras. Pero para mí la vivencia fue primero y siempre lo es (…)  La necesidad de que el arte no sólo tuviera un significado teórico sino, sobre todo, vivencial es para mí la base de su capacidad transformadora o sea su capacidad de tocar al mundo significativamente. (Barney, 2016)''”  
“''In an attempt that was wonderful as an experience, I acted as a shaman in gathering up the objects. I wasn't picking up everything I saw, I was living in a different state of consciousness, not the standard every day one. However, I must make clear that I was not under the influence of any drugs, but rather living with enormous intensity. This state has repeated itself several times in my works. Then when I was writing my thesis, I found information about The Store by Claes Oldenburg. It was wonderful, because there was my experience translated into ideas, into words. But for me the experience came first and always does [...] The need for art not only to have a theoretical meaning but, above all, an experiential one is for me the basis of its transformational capacity, that is, its ability to touch the world significantly. (Barney, 2016)''”  


Ese interés por lo cotidiano pronto se transformó en un gesto constante en varias de sus obras: la duración de la recolección del tiempo y el espacio. Oldenburg se configuró en uno de sus principales referentes al realizar una obra que, si bien parecía copiar fielmente la realidad, sugería una mirada diferente sobre la misma, pues se trataba de reconocer el carácter de huella de todos los objetos y residuos que suponía la sociedad de consumo. Barney plantea un paisaje no como entorno idílico, sino como indicio de destrucción; así sus obras refieren un espacio preciso, no una idea de éste ni su estetización. El paisaje ya no es imagen sino huella e indicio de la relación del  ser humano con el espacio.  
That interest in the everyday soon became a constant gesture in several of her works: the duration of the recollection of time and space. Oldenburg became one of her main points of reference when she created a work that, although apparently a faithful copy of reality, suggested a different way of looking at it, since it was a matter of recognizing the trace quality of all the objects and the waste that consumer society implied. Barney poses a landscape not as an idyllic environment, but as a symbol of destruction. Thus, her works refer to a precise space, not an idea of it or its aesthetization. The landscape is no longer an image but a trace and an indication of the relationship between human beings and space.  
Así, Barney extendía los límites del arte, buscando propiciar una transformación, pero no solo como denuncia, sino como captación de lo humano:
In this manner, Barney extended the limits of art, seeking to propitiate a transformation. But her intention was not merely to issue a complain, but to capture something human:


“''Ya sea denominando a todo el arte “''político''” o solo al arte cuyas denuncias son más evidentes; el ARTE no parece tener "garra”, sus consecuencias, su efectividad para producir cambios en lo cotidiano, del público como individuo o a nivel masivo son limitadas. Su esfera de influencia parece fluctuar entre el arte como show ampliamente cooptado por lo mediático o el tímido señalamiento que se ahoga en las pequeñas esferas de interesados sin ímpetu o fuerza transformativa a nivel masivo. En mi mente, no se compara, ni de lejos el impacto de cinco naves científicas orbitando Marte con muy claras intenciones con una artista sembrando yuca y enseñando a hacer batik a unas mujeres en una apartada población sin puesto de salud y sin siquiera una lejana carretera de penetración, angustiosamente expuesta al deambular criminal de guerrilla y narcos (perdón por la redundancia), el arte no tiene garra, parece dar tumbos poéticos cuando y en el planeta próximamente sin vida, no podrá haber ni música, ni arte, ni poesía. Darse cuenta conferencia dada en Errata 2014 El presente texto leído el 12 de Noviembre del 2014 en el Coloquio de la revista Errata #10 titulado Polémicas ambientales - Prácticas sostenibles, puede ser utilizado por los destinatarios siempre y cuando no sea modificado y se le de crédito a la autora, Alicia Barney Caldas Pratt M.F.A. Institute ´77. (Barney, 2014)''”
“''Whether we call all art "political" or only that art that is more plain in its denunciations, ART does not appear to have any "teeth." Its consequences, its effectiveness in producing changes in ordinary life of the public or the individual or at a mass level are limited. Its sphere of influence seems to fluctuate between art as a show widely co-opted by the media, or the timid calling-out that is drowned in small spheres of interest without real drive or transformative force at the mass level. To my mind, there is no comparison—not even close—between the impact of five scientific vessels orbiting Mars with noticeably clear intentions and an artist planting cassava and teaching women to do batik in a remote town without a health outpost and without even a rough road, distressingly exposed to the criminal whims of guerrillas and drug traffickers (apologies for the redundancy). Art has no teeth, seems to stumble poetically on a soon-lifeless planet that will no longer be able to sustain music, nor art, nor poetry. Darse cuenta, lecture given at Errata 2014, read on November 12, 2014, at the Errata 10 Colloquium entitled Polémicas ambientales - Prácticas sostenibles (Environmental Controversies—Sustainable Practices), can be used by the recipients so long as it is not modified and credit is given to the author, Alicia Barney Caldas Pratt M.F.A. Institute '77 (Barney, 2014).''”


El carácter crítico de la mirada de Barney mantiene incólume su convicción, lo que le permite continuar siendo pionera insubordinada de una estructura que mira de lejos para afirmar algo que muchos piensan, pero pocos se atreven a formular dada la estrechez del campo artístico local.
The critical nature of Barney's gaze keeps her conviction intact, allows her to continue as an insubordinate pioneer of a structure that gazes from afar to affirm something that many think, but few dare to formulate given the narrowness of the local art field.


===Obras destacadas===
===Featured works===


*'''{{Fecha|1975|link=}}''': Sin título.
*'''{{Fecha|1975|link=}}''': Sin título (Untitled)
** Puente sobre tierra.
** Puente sobre tierra.:  Puente sobre tierra (Bridge Over Earth)
**Viviendas I.
**Viviendas I.:  Viviendas I (Houses I)
*'''{{Fecha|1976|link=}}''': La música y los músicos.
*'''{{Fecha|1976|link=}}''': La música y los músicos (Music and Musicians)
**Cuerda.
**Cuerda (Rope)
**Serie de tres libros: Los estados que compré y Tiempo de quema.
**Series of three books
*'''{{Fecha|1977|link=}}''' 1977: Diario Objeto serie I.
*'''{{Fecha|1977|link=}}''' 1977: Object Diary, Series I
*'''{{Fecha|1978|link=}}''': Diario objeto serie II. Compuesto por Pratt I, Pratt II, Bocagrande I, Bocagrande II, Cali-Florida, Un día en la montaña, Gorky a y b, Sin título.
*'''{{Fecha|1978|link=}}''': Object Diary, Series II, made up of Pratt I, Pratt II, Bocagrande I, Bocagrande II, Cali-Florida, Un día en la montaña (A Day on the Mountain), Gorky A and B, and Sin título (Untitled)
*'''{{Fecha|1980|link=}}''': Yumbo.
*'''{{Fecha|1980|link=}}''': Yumbo
*'''{{Fecha|1981|link=}}''': Río Cauca. Esta obra actualmente hace parte de la colección de la Galería La Sucursal.
*'''{{Fecha|1981|link=}}''': Río Cauca (currently part of the Galería La Sucursal collection)
*'''{{Fecha|1981-1982|link=}}''': El ecológico. Periódico intervenido. Algunos de los ejemplares de este periódico hacen parte de la colección Toluca Fine Art.
*'''{{Fecha|1981-1982|link=}}''': El ecológico (altered newspaper, some of these editions are part of the Toluca Fine Art collection)
*'''{{Fecha|1984|link=}}''': Sin título. Tres estructuras metálicas con lienzo y objetos.
*'''{{Fecha|1984|link=}}''': Sin título (Untitled) (three metallic structures with canvas and objects)
**Sin título.
**Sin título (Untitled)
**Odio el dibujo (orden).
**Odio el dibujo [orden] (I Hate Drawing (Order))
**Sin título.
**Sin título (Untitled)
*'''{{Fecha|1987-2014-2015|link=}}''': Estratificación de un basurero utópico.
*'''{{Fecha|1987-2014-2015|link=}}''': Estratificación de un basurero utópico (Stratification of a Utopian Dump)
*'''{{Fecha|1988|link=}}''': La requisa.
*'''{{Fecha|1988|link=}}''': La requisa (The Inspection)
*'''{{Fecha|1989|link=}}''': Objeto precolombino I.
*'''{{Fecha|1989|link=}}''': Pre-Columbian Object I
*'''{{Fecha|1990|link=}}''': Objeto precolombino II (a).
*'''{{Fecha|1990|link=}}''': Pre-Columbian Object II (a)
*Objeto precolombino II (b).
*Pre-Columbian Object II (b)
*'''{{Fecha|1993|link=}}''': Aves en el cielo I.
*'''{{Fecha|1993|link=}}''': Aves en el cielo I (Birds in the Sky I)
*Aves en el cielo II.
*Aves en el cielo II (Birds in the Sky II)
*'''{{Fecha|1994|link=}}''': La rama dorada.
*'''{{Fecha|1994|link=}}''': The Golden Branch (La rama dorada)
*'''{{Fecha|1995|link=}}''': Proyecto meta-recinto.
*'''{{Fecha|1995|link=}}''': Proyecto meta-recinto (Mega Enclosure Project)
*'''{{Fecha|1996|link=}}''': Proyecto Museo del Oro.
*'''{{Fecha|1996|link=}}''': Proyecto Museo del Oro (Gold Museum Project)
*'''{{Fecha|1997|link=}}''': Triqui.
*'''{{Fecha|1997|link=}}''': Triqui  
**Nahual eterno.
**Nahual eterno (Eternal Nahual)
**Nahual infante.
**Nahual Infante (Infant Nahual)
**Sin ruido.
**Sin ruido (Noiseless)
**Juguete de las hadas.
**Juguete de las hadas (Fairy Toy)
*'''{{Fecha|1998|link=}}''': Viviendas II.
*'''{{Fecha|1998|link=}}''': Viviendas II (Homes II)
*Sujeto como tal.
*Sujeto como tal (Subject As Such)
*Taxonomía.
*Taxonomía (Taxonomy)
*'''{{Fecha|1999|link=}}''': Mark Thiesen.
*'''{{Fecha|1999|link=}}''': Mark Thiesen
*'''{{Fecha|2001|link=}}''': Las flores del mal.
*'''{{Fecha|2001|link=}}''': Las flores del mal (The Flowers of Evil)
-*'''{{Fecha|2008|link=}}''': Yumbo 2
*'''{{Fecha|2008|link=}}''': Yumbo 2
*'''{{Fecha|2016|link=}}''': El valle de Alicia.
*'''{{Fecha|2016|link=}}''': El valle de Alicia (Alicia’s Valley)
**Nueva sensibilidad, antigua presencia.
**Nueva sensibilidad, antigua presencia (New Sensibility, Old Presence)


===Obras de Alicia Barney en las Colecciones del Banco de la República===
===Works by Alicia Barney in the Banco de la República Collections===


{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Alicia Barney Caldas en la Colección de Arte del Banco de la República'''</big>
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Alicia Barney Caldas en la Colección de Arte del Banco de la República'''</big>
! width="300 px" style="background:Lavender; color:Black"|Título
! width="300 px" style="background:Lavender; color:Black"|Title
! width="40 px" style="background:Lavender; color:Black"|Año
! width="40 px" style="background:Lavender; color:Black"|Year
! width="80 px" style="background:Lavender; color:Black"|Ubicación
! width="80 px" style="background:Lavender; color:Black"|Location
! width="80 px" style="background:Lavender; color:Black"|Denominación
! width="80 px" style="background:Lavender; color:Black"|Technique
! width="80 px" style="background:Lavender; color:Black"|Registro
! width="80 px" style="background:Lavender; color:Black"|Registration number
|-
|-
||Los estados que compré
||Los estados que compré (The States I Bought)
||1976
||1976
||Reserva
||Reserve
||No registra
||N/A
||AP6162
||AP6162
|-
|-
|}
|}


==Cronología==
==Timeline==


*'''{{Fecha|1952|link=}}''': Nació el 28 de noviembre en Cali
*'''{{Fecha|1952|link=}}''':Born in Cali on November 28.
*'''{{Fecha|1974|link=}}''': Obtuvo el título de Bachelor of Fine Arts del College of New Rochelle en Nueva York.
*'''{{Fecha|1974|link=}}''':Earned a bachelor of fine arts degree from the College of New Rochelle in New York.
*'''{{Fecha|1977|link=}}''': Obtuvo el título Master of Fine Arts del Pratt Institute en Nueva York.
*'''{{Fecha|1977|link=}}''':Obtained a master of fine arts degree from the Pratt Institute in New York.
*'''{{Fecha|1978|link=}}''': Muestra individual en la Universidad del Valle y Sala de la Gobernación en Cali de su obra Diario Objeto I.  
*'''{{Fecha|1978|link=}}''':Individual exhibition at Universidad del Valle and the Governor's House in Cali, presenting Diario Objeto I (Object Diary I).  
*'''{{Fecha|1979|link=}}''': Participó en el V Salón Atenas en el Museo de Arte Moderno de Bogotá.  
*'''{{Fecha|1979|link=}}''':Participated in the V Atenas Salon at the Bogotá Museum of Modern Art.  
*'''{{Fecha|1980|link=}}''': Participó en las exposiciones colectivas: Arte para los años 80 en el Museo La Tertulia en Cali, 14 artistas de Cali en la Galería del Banco Central Hipotecario en Bogotá y Década de los setentas en la Cámara de Comercio de Cali.
*'''{{Fecha|1980|link=}}''':Participated in the collective exhibitions: Arte para los años ochenta (Art for the Eighties) at La Tertulia Museum in Cali, 14 artistas de Cali (14 Artists from Cali) at the gallery of Banco Central Hipotecario in Bogotá, and Década de los setentas (The Seventies) at the Cali Chamber of Commerce.  
**Participó en el XXVIII Salón de Artistas Nacionales en el Museo Nacional en Bogotá y obtuvo el Primer Premio III Salón Regional de Artes Visuales en Cali por su obra Bocagrande.
**:Participated in the XXVIII National Artists' Salon at the National Museum in Bogotá and won first prize at the III Regional Visual Arts Salon in Cali for the work Bocagrande.  
*'''{{Fecha|1981|link=}}''': Participó con Río Cauca en el Primer Coloquio Latinoamericano de Arte No objetual y arte urbano que se realizó en el Museo de Arte Moderno de Medellín. También participó en la exposición colectiva IV Bienal de Arte en Medellín.
*'''{{Fecha|1981|link=}}''':With the work Río Cauca, participated in the First Latin American Colloquium on Non-Object Art and Urban Art held at the Museum of Modern Art in Medellín. Also participated in the collective exhibition IV Art Biennial in Medellín.
*'''{{Fecha|1982|link=}}''': Exposición individual El ecológico en el Espacio Alterno Sara Modiano en Barranquilla. También participó en las exposiciones colectivas: Cinco artistas colombianos en la galería Espacio N.O. en Porto alegre Brasil; Nuevos aportes y tendencias en el Centro Colombo Americano en Bogotá; La mujer en América: perspectivas emergentes en el Centro Interamericano en Nueva York.  
*'''{{Fecha|1982|link=}}''':Individual exhibition El ecológico in the Sara Modiano Alternative Space in Barranquilla. Barney also participated in the collective exhibitions Cinco artistas colombianos (Five Colombian Artists) at the Espacio N.O. gallery in Porto Alegre, Brazil, Nuevos aportes y tendencias (New Contributions and Trends) at the Centro Colombo Americano in Bogotá, and La mujer en América: perspectivas emergentes (Women in the Americas: Emerging Perspectives) at the Inter-American Center in New York.
*'''{{Fecha|1983|link=}}''': Participó en la exposición colectiva Actitudes plurales en el Museo de Arte Moderno La Tertulia en Cali.  
*'''{{Fecha|1983|link=}}''':Participated in the collective exhibition Actitudes Plurales (Plural Attitutes) at the La Tertulia Museum of Modern Art in Cali.  
*'''{{Fecha|1984|link=}}''': Participó en la exposición colectiva Aspectos de lo tridimensional en el Museo de Arte Moderno La Tertulia en Cali.
*'''{{Fecha|1984|link=}}''':Participated in the group exhibition Aspectos de lo tridimensional (Aspects of the Three-Dimensional) at the La Tertulia Museum of Modern Art in Cali.
*'''{{Fecha|1985|link=}}''': Participó en la exposición colectiva Cien años de arte colombiano y Barney, Caro Echeverri en la Biblioteca Pública Piloto de Medellín.
*'''{{Fecha|1985|link=}}''':Participated in the collective exhibition Cien años de arte colombiano (One Hundred Years of Colombian Art) and Barney, Caro Echeverri at the Medellín Pilot Public Library.
*'''{{Fecha|1986|link=}}''': Participó en el XXX Salón Anual de Artistas Colombianos.
*'''{{Fecha|1986|link=}}''':Participated in the XXX Annual Colombian Artists’ Salon.
*'''{{Fecha|1987|link=}}''': Participó en la exposición colectiva Douze Mondes Colombiens en el Grand Palais en París.  
*'''{{Fecha|1987|link=}}''':Participated in the collective exhibition Douze Mondes Colombiens at the Grand Palais in Paris.  
*'''{{Fecha|1988|link=}}''': Participó en la exposición colectiva I Bienal de arte en el Museo de Arte Moderno de Bogotá.
*'''{{Fecha|1988|link=}}''':Participated in the first Art Biennial at the Bogotá Museum of Modern Art.
*'''{{Fecha|1989|link=}}''': Participó en la exposición colectiva Doce escultores colombianos/materiales e ideas en la Cámara de Comercio de Cali.
*'''{{Fecha|1989|link=}}''':Participated in the collective exhibition Doce escultores colombianos/materiales e ideas (Twelve Colombian Sculptors: Materials and Ideas) at the Chamber of Commerce in Cali.
*'''{{Fecha|1990|link=}}''': Participó en la exposición colectiva II Bienal de arte en el Museo de Arte Moderno de Bogotá.
*'''{{Fecha|1990|link=}}''':Participated in the second Art Biennial at the Bogotá Museum of Modern Art.
*'''{{Fecha|1991|link=}}''': Participó en la exposición colectiva 100 obras de la Colección/pequeño formato del Museo de Arte Moderno La Tertulia de Cali.  
*'''{{Fecha|1991|link=}}''':Participated in the collective exhibition 100 obras de la Colección/pequeño formato (100 Works from the Collection: Small Format) at the La Tertulia Museum of Modern Art in Cali.  
*'''{{Fecha|1992|link=}}''': Beca Francisco de Paula Santander. Participó en la exposición colectiva América Novia del Sol en el Museo Real de Bellas Artes en Amberres, Bélgica.  
*'''{{Fecha|1992|link=}}''':Francisco de Paula Santander Scholarship. Participated in the collective exhibition América Novia del Sol (The Americas: Bride of the Sun) at the Royal Museum of Fine Arts in Antwerp, Belgium.  
*'''{{Fecha|1993|link=}}''': Exposición individual Aves en el cielo en la Galería Gartner Torres en Bogotá; Participó en las exposiciones colectivas Pulsiones en el Museo de Arte Moderno La tertulia en Cali y Degas en el trópico en el Museo de Arte de la Universidad Nacional de Bogotá.  
*'''{{Fecha|1993|link=}}''':Solo exhibition Aves en el cielo (Birds in the Sky) at Gartner Torres gallery in Bogotá. Participated in the group exhibitions Pulsiones at the La Tertulia Museum of Modern Art in Cali and Degas en el trópico (Degas in the Tropic) at the Art Museum of the National University of Bogotá.  
*'''{{Fecha|1994|link=}}''': Participó en el XXXV Salón Nacional de Artistas.  
*'''{{Fecha|1994|link=}}''':Participated in the XXXV National Artists' Salon.  
*'''{{Fecha|1995|link=}}''': Participó en la exposición colectiva Arte para Bogotá en la Galería Santa Fe.
*'''{{Fecha|1995|link=}}''':Participated in the collective exhibition Arte para Bogotá (Art for Bogotá) at the Santa Fe gallery.
*'''{{Fecha|1997|link=}}''': Participó en las exposiciones colectivas Imaginación y fantasía en el Museo de Arte Moderno La Tertulia en Cali y el Festival Internacional de Arte del Museo de Arte Moderno de Medellín.  
*'''{{Fecha|1997|link=}}''':Participated in the collective exhibitions Imaginación y fantasia (Imagination and Fantasy) at the La Tertulia Museum of Modern Art in Cali and the International Art Festival of the Medellín Museum of Modern Art.  
*'''{{Fecha|1998|link=}}''': Realizó la exposición individual Juguetes de las hadas en el Museo de Arte de Pereira y Museo La Merced en Cali. También participó en las exposiciones colectivas Fragilidad en el Museo de Arte de la Universidad Nacional de Bogotá, Piezas de caza en la Galería Espacio Vacío en Bogotá, VI Bienal de Arte en el Museo de Arte Moderno de Bogotá en donde obtuvo una mención especial.  
*'''{{Fecha|1998|link=}}''':Solo exhibition Fairy Toys (Juguetes de las hadas) at the Pereira Art Museum and La Merced Museum in Cali. Also participated in the collective exhibitions Fragilidad (Fragility) at the Art Museum of the National University of Bogota, Piezas de caza (Hunting Pieces) at the Espacio Vacío gallery in Bogota, and the VI Bogotá Museum of Modern Art Art Biennial, where she obtained a special mention.  
*'''{{Fecha|1999|link=}}''': Participó en la exposición colectiva El traje del emperador en la Galería Santa Fe en Bogotá.  
*'''{{Fecha|1999|link=}}''':Participated in the collective exhibition El traje del emperador (The Emperor's New Clothes) at the Santa Fe gallery at Bogotá.  
*'''{{Fecha|2001|link=}}''': Participó en las exposiciones colectivas 1930-2001: Odisea de un espacio en al Galería Valenzuela y Klenner en Bogotá y Flores del mal en Galería Espacio Vacío en Bogotá.  
*'''{{Fecha|2001|link=}}''':Participated in the collective exhibitions 1930-2001: Odisea de un espacio (1930-2001: Odyssey of a Space) at the Valenzuela and Klenner gallery in Bogotá and Flores del mal (Flowers of Evil) at Espacio Vacío gallery in Bogotá.  
*'''{{Fecha|2008|link=}}''': Participó en el 41 Salón Nacional de Artistas.  
*'''{{Fecha|2008|link=}}''':Participated in the 41st National Artists' Salon.  
*'''{{Fecha|2014|link=}}''': Participó en las exposiciones colectivas Contraexpediciones en el Museo de Antioquia, Basurero Utópico en la Galería Instituto de Visión y The Phylogeneis of Generosity en el Prinzessinnengarten en Berlín.  
*'''{{Fecha|2014|link=}}''':Participated in the group exhibitions Contraexpediciones (Contraexpeditions) at the Museo de Antioquia, Basurero Utopico (Utopian Dump) at Instituto de Visión gallery, and The Phylogeneis of Generosity at Prinzessinnengarten in Berlin.  
*'''{{Fecha|2015|link=}}''': Exposición individual El Basurero en galería La sucursal Cali; Participó en las exposiciones colectivas Bienal Mercosur en Porto Alegre, Brasil y Referentes Lo continuo/Lo discontinuo en Artbo Bogotá.  
*'''{{Fecha|2015|link=}}''':Individual exhibition El Basurero (The Dump) in La Sucursal Cali gallery. Participated in the collective exhibitions Bienal Mercosur in Porto Alegre, Brazil, and Referentes Lo continuo/Lo discontinuo (References: Continuity and Discontinuity) at Artbo Bogotá.
*'''{{Fecha|2016|link=}}''': Participó en la edición 32 de la Bienal de Sao Paulo en Brasil con su obra Valle de Alicia en el Parque Ibirapuera. También participó en el 44 Salón Nacional de Artistas y Naturaleza amotinada en el MAMBO de Bogotá. Su obra Sin título (1984) fue incluida en la curaduría de Referentes en ARTBO.
*'''{{Fecha|2016|link=}}''':Participated in the XXXII Sao Paulo Biennial in Brazil with her work Valle de Alicia (Alicia's Valley) at Ibirapuera Parl. Also participated in the 44th National Salon of Artists and Mutinous Nature at MAMBO in Bogotá. Her work Untitled (1984) was included in the in References at ARTBO.
*'''{{Fecha|2017|link=}}''': Participó en la exposición colectiva Radical Women en el Brooklyn Museum en New York City.  
*'''{{Fecha|2017|link=}}''':Participated in the collective exhibition Radical Women at the Brooklyn Museum in New York City.  
*'''{{Fecha|2018|link=}}''': Participó en la exposición colectiva El arte de la desobediencia en el MAMBO en Bogotá. El ecológico fue incluido en la curaduría 33 Revoluciones realizada por Sylvia Suárez para Referentes ARTBO, 2017.
*'''{{Fecha|2018|link=}}''':Participated in the collective exhibition El arte de la desobediencia (The Art of Disobedience) at MAMBO in Bogotá. El ecológico was included in 33 Revoluciones (33 Revolutions), curated by Sylvia Suárez for References ARTBO, 2017.


==Véase también==
==Véase también==
*https://www.aliciabarneycaldas.com/
*https://www.aliciabarneycaldas.com/
*http://institutodevision.com/exposiciones/basurero-utopico/
*http://institutodevision.com/exposiciones/basurero-utopico/
*http://44sna.com/alicia-barney/
*http://44sna.com/alicia-barney/


==Bibliografía==
==Bibliography==


*González, M. (1979, 30 de diciembre). El azar como expresión. El País, pp. 11-12
*González, M. (1979, December 30). El azar como expresión. El País, p. 11-12.


*Barney, A. (2014, enero). Conversación con Alicia Barney. Revista Errata N°10. Recuperado de https://revistaerrata.gov.co/edicion/errata10-polemicas-ambientales-practicas-sostenibles
*Barney, A. (2014, January). Conversación con Alicia Barney. Revista Errata N°10. Accessed at: https://revistaerrata.gov.co/edicion/errata10-polemicas-ambientales-practicas-sostenibles


*Barney, A. (2016). Conversación con Carmen María Jaramillo. Recuperado de https://www.aliciabarneycaldas.com/blank-9
*Barney, A. (2016). Conversación con Carmen María Jaramillo. Accessed at: https://www.aliciabarneycaldas.com/blank-9


*Instituto de visión. (s. f.) Alicia Barney. Recuperado de http://institutodevision.com/wp-content/uploads/2014/10/Alicia_Barney-_Eng_SP.pdf
*Instituto de visión. (s. f.) Alicia Barney. Accessed at: http://institutodevision.com/wp-content/uploads/2014/10/Alicia_Barney-_Eng_SP.pdf


*Wills, M. (2016, marzo 8) Entrevista a Miguel González por María Wills. Recuperado de http://institutodevision.com/visionarios/miguel-gonzalez/
*Wills, M. (2016, March 8) Entrevista a Miguel González por María Wills. Accessed at: http://institutodevision.com/visionarios/miguel-gonzalez/


*Barney, A. (2015, septiembre 06). La artista Alicia Barney, pionera del arte ecológico, regresa con su obra a Cali. El País. Recuperado de https://www.elpais.com.co/entretenimiento/cultura/la-artista-alicia-barney-pionera-del-arte-ecologico-regresa-con-su-obra-a-cali.html
*Barney, A. (2015, September 6). La artista Alicia Barney, pionera del arte ecológico, regresa con su obra a Cali. El País. Accessed at: https://www.elpais.com.co/entretenimiento/cultura/la-artista-alicia-barney-pionera-del-arte-ecologico-regresa-con-su-obra-a-cali.html


*Barney, A. (2015). Historia de la obra estratificación de un basurero utópico y recomendaciones. Recuperado de https://www.aliciabarneycaldas.com/blank-7
*Barney, A. (2015). Historia de la obra estratificación de un basurero utópico y recomendaciones. Accessed at: https://www.aliciabarneycaldas.com/blank-7


==Colección de arte del Banco de la República==
==Banco de la República Art Collection==


*Visite la obra de Alicia Barney Caldas en [https://www.banrepcultural.org/coleccion-de-arte/obra/los-estados-que-compre-ap6162 Colección de arte]
*Visit the work of Alicia Barney Caldas at [https://www.banrepcultural.org/coleccion-de-arte/obra/los-estados-que-compre-ap6162 Colección de arte]


==Créditos==
==Credits==


1. Investigación y texto: Laura Alejandra Rubio León, mediadora de los Museos y colecciones del Banco de la República, para Banrepcultural.
1. Research and text: Laura Alejandra Rubio León, mediator of Banco de la República museums and collections, for Banrepcultural.


2. Revisión y edición de textos: Inti Camila Romero Estrada y Diana Marcela Salas Solórzano. Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC)
2.Review and editing: Inti Camila Romero Estrada and Diana Marcela Salas Solórzano. Public and Educational Services, Art, and Other Collections Unit (UAOC).


[[Categoría:Nacidos en Colombia]]
[[Categoría:Nacidos en Colombia]]

Revisión actual - 09:06 21 sep 2021

Otros idiomas:
Alicia Barney Caldas
Datos generales
Nombre Alicia Barney Caldas
Fecha de nacimiento 28 de noviembre de 1952
Nacionalidad Colombiana Bandera de Colombia }}
Ocupación Artista
Formación profesional Arts del College of New Rochelle y Master of Fine Arts Pratt Institute en Nueva York
País de nacimiento Colombia Bandera de Colombia }}
Ciudad de nacimiento Cali


Alicia Barney Caldas is a Colombian artist born in Cali on November 28, 1952. In 1974 she obtained a bachelor of fine arts degree from the College of New Rochelle and a master of fine arts degree from the Pratt Institute in New York. Her work has an important place in the history of Colombian art, as during the eighties she was a pioneer in addressing environmental issues with the procedures of conceptualism, land art, and ecological art. Barney is a transgressive artist who, despite the questioning and lack of recognition, continued to develop her work, responding to her personal conviction.

Biography

Artistic Career

Alicia Barney was trained during the seventies in New York, which allowed her to learn first-hand about the theoretical discussions that led to one of the principles of contemporary art: the dematerialization of the work of art. This knowledge allowed her to understand the emblematic exhibition Ecological Art, which took place in 1969 at Gibson Gallery, where Christo, Hutchinson, and Oldenburg presented their works within this reflexive current. After finishing her studies, Barney decided to return to the capital city of Valle del Cauca in Colombia to develop her professional work. Upon her arrival, she contacted Miguel González, who without hesitation encouraged her to prepare her first exhibition in Colombia at Universidad del Valle, as González himself told Maria Wills in an interview:

“Alicia Barney had her first solo exhibition in Colombia, at Universidad del Valle when I was directing the exhibitions there. It was about the Object-Diary, something totally different from what had been seen before. Benjamín Barney (who had married María de la Paz Jaramillo) called me, and I was already at Universidad del Valle, and he told me” “Look, I have a sister who does sculpture, and she came to live in Cali after studying in the United States. So I imagined some porcelains, some dancers, some busts, but I said I'm not going to get into trouble here with Benjamin, and I told her to come and show me her work [...] And then she showed up with her portfolio, with all her junk hanging out, right? All those things that for Colombia were very strange. So I said, "When do you want the exhibition?” (Wills, 2016).

Alicia Barney was trained during the seventies in New York, which allowed her to learn first-hand about the theoretical discussions that led to one of the principles of contemporary art: the dematerialization of the work of art. This knowledge allowed her to understand the emblematic exhibition Ecological Art, which took place in 1969 at Gibson Gallery, where Christo, Hutchinson, and Oldenburg presented their works within this reflexive current. After finishing her studies, Barney decided to return to the capital city of Valle del Cauca in Colombia to develop her professional work. Upon her arrival, she contacted Miguel González, who without hesitation encouraged her to prepare her first exhibition in Colombia at Universidad del Valle, as González himself told Maria Wills in an interview:

“Alicia Barney had her first solo exhibition in Colombia, at Universidad del Valle when I was directing the exhibitions there. It was about the Object-Diary, something totally different from what had been seen before. Benjamín Barney (who had married María de la Paz Jaramillo) called me, and I was already at Universidad del Valle, and he told me "Look, I have a sister who does sculpture, and she came to live in Cali after studying in the United States. So I imagined some porcelains, some dancers, some busts, but I said I'm not going to get into trouble here with Benjamin, and I told her to come and show me her work [...] And then she showed up with her portfolio, with all her junk hanging out, right? All those things that for Colombia were very strange. So I said, "When do you want the exhibition?” (Wills, 2016).

With that first exhibition, Barney saw the public's resistance to new artistic proposals, expressed without respect. According to the artist, they scribbled insults onto the work and around it. These gestures of incomprehension demonstrated the innovative character of the artist, who from her first exhibition became part of the group of young creators who were renewing the national art scene by working with marginal materials and elements from everyday life. This position was consolidated with her inclusion in the fifth version of the Atenas Salon at the Bogotá Museum of Modern Art in 1979, where she exhibited one of her daily objects, this time Bocagrande I and Bocagrande II. Although her works had already been criticized in Cali as a result of the public’s total incomprehension, in Bogotá the criticism became even stronger. Marta Traba, the protagonist, and leader of the arts scene in the country since the nineteen fifties, spoke out forcefully against the direction in which new curators were taking Colombian art:

“Not unrelated is the dominant tone that Colombian art has been taking in the hands of Eduardo Serrano at the Bogota Museum of Modern Art, Miguel Gonzalez in Cali, Alvaro Barrios in Barranquilla, and Alberto Sierra in Medellin, who have supported what they consider to be the avant-garde—that is, the use of systems other than the traditional media of painting, sculpture, and graphic art—in such an enthusiastic and exclusive way as to discourage anyone who dares to dissent (Quoted by González in an interview with Wills, 2016).”

The formal results consolidated in a painting, sculpture, or graphic work of art were being cast aside to make room for process art, in which the important thing was not the formal solution but the idea. Barney was embedded in artistic productions that were the result of conceptual questions. For this reason, Álvaro Barrios included her in Arte para los años ochenta (Art for the Eighties), an exhibition that opened in 1980. Despite the resistance from the public, and at times form the field of art itself, Barney's work was again recognized in 1980, when she received the First Prize at the III Regional Visual Arts Salon in Cali for the same work with which she had participated in the Atenas Salon. That same year, she dared to do something that no artist had proposed in recent years, when various government voices all promulgated that the economic development of the country was to be found in the exploitation of its natural resources and industrialization. She decided to follow her sense of smell, wanting to know where the nauseating smell that surrounded her family farm and that of many other families in Yumbo came from. People from time to time asked about the reason for the smell, to which people naturally responded: "This is what Yumbo smells like." What was that smell that had become normal in the industrial capital of Valle del Cauca? This question was the starting point for Yumbo (1980), one of Barney’s most emblematic works, first exhibited at La Tertulia Museum of Modern Art in 1980. Members of the Administrative Department of Security arrived, because the work was—while not explicitly—a denunciation of the cement company that had operated in the municipality since the forties:

“You could recognize them by the clothes they wore, the little shirts and the denim pants. There were three guys and they started to surround me and attack me. The only way out was to tell them that the polluted air was not only in Yumbo but that the air was circulating and that all that pollution would travel to the islands of the owners of Cementos del Valle. Suddenly they fell silent and left. Being an environmentalist is a subversive act for many. The more so at that time. That's why there is talk of radical environmentalists (Barney, 2015). ”

The following year, while already a professor at Universidad del Cauca, Barney formed an interdisciplinary team with a biologist and a photographer with whom she traveled to different points along the Cauca River to take samples of its water and speak out against its contamination. This initiative gave rise to the Cauca River project. When Barney exhibited the piece, it was harshly criticized by her students, who were still ignorant of the procedures employed, ones that would later connect artistic practice with ethnography. Although it would be going too far to say that her works were the result of scientific rigor, Barney did take elements of research to make her work a document of denunciation.

Between 1981 and 1982, she produced El ecológico, a newspaper of ten unique editions, each one consisting of forty original pages from various other newspapers in the country that Barney had been collecting for a long time. She asked Jorge Cachiotis, a history student, to classify the material by opposing themes according to his understanding of the state of the twenty themes into which the student had classified the material. Cachiotis wrote the titles Endangered Species and Non-Endangered Species on stamps with green ink. Among the themes were traditional customs, farmers, animals, human diversity, trees, water, sea, architecture, landscape, fresh food, canned food, atomic energy, clean energy, woman as an object, and woman as an individual.

Another relevant work of Barney’s is the installation Sin título (Untitled), with which she participated in the collective exhibition Aspectos de lo tridimensional (Aspects of the Three-Dimensional) at La Tertulia Museum of Modern Art in Cali, curated by Miguel Gonzalez whose objective was to show how the manner of approaching objects and sculpture had been transformed in Colombian art during the second half of the twentieth century. In Barney's enigmatic work, the viewer was confronted with three metal structures covered with rustic canvas and could climb the stairs in each of them to discover their contents. One contained an acrylic box, in turn filled with small boxes with the seeds of tropical trees; in another hung a gallon of chlorophyll-green paint leaking, while the third was filled with chicken eggshells.

Although the objective of the conceptualist works is not a formal result, they still require a material solution, as evident in Estratificación de un basurero utópico (Stratification of a Utopian Dump), 1987. Regarding this work the artist stated:

“First performed in 1987 in Cali. They were 5 cm in diameter and 1,80 cm tall. There were 10 acrylic tubes built by hand by heating each piece in a bakery oven. When taken out there were wrapped in some blankets around a PVC tube. These pieces were then joined lengthwise and glued and then two were joined to achieve the height of 1,80 cm. The materials were collected at the roadside up past Piedras Blancas near Farallones in Cali. The garbage was collected for six months in plastic buckets. The roadside clearly presented the stratification I was looking for. Large stones below, followed by smaller stones, sand, and colored soil until the vegetation layer was reached. Then the garbage was introduced and sealed with purba (charcoal) and fine sand as indicated by the formulas for how you seal garbage so you can plant the dump a few years later. The garbage is all biodegradable. That is why utopia is in the title. This work was exhibited in Bogotá at the then Garcés Velázquez Gallery. Then it was sent to Medellín for the biennial and there the tubes were placed against the wall and fixed. I went out for lunch convinced that no one would enter, but a French artist on the other side of the wall decided to go in and nail his photos and plants to the wall, and he knocked down all the tubes, destroying most of them, since acrylic breaks, even though it is more resistant than glass (Barney, 2015).”

Although at the time these works did not receive all the recognition they deserved, over the last few years artists, critics, and curators have become interested in highlighting the importance of Barney’s work. The invitation by Wilson Diaz in 2008 to the 41st National Artists’ Salon to make a second version of Yumbo is among these efforts. In 2014, Barney returned to execute the work Stratification of a Utopian Dump, and the National Museum bought two of the tubes from the new version, while eight more were acquired by a private collector. In 2016, her work Untitled (1984) was included in Fuerzas invisibles: exposición a partir de la primera asamblea de críticos frente a la crisis del No-objetualismo (Invisible Forces: Exhibition from the first assembly of critics addressing the crisis of non-object art) by Ericka Flórez and Pablo León de la Barra for the Referentes section at ARTBO. In 2017, her work El ecológico (1981) was included in the selection 33 Revoluciones (33 Revolutions) by Sylvia Suárez for ARTBO Referentes.

While recognition of Barney's work has focused on her production in the eighties, the artist continues to develop her work today.

Characteristics of her work

Miguel Gonzalez found in Alicia Barney's work a reinterpretation of the landscape, no longer bucolic, romantic paintings observed through the aesthetic gaze of early twentieth century artists, but rather an inquisitive, questioning, and provocative gaze. In Barney’s work, the concept replaces the object. The result is instead a process in which the materials signify the idea itself, which is not abstract matter, but part of reality, observed through her critical perspective. Materials are not used as metaphors, but as indexes, as a principle of reality where she coined the idea of the "shaman artist," one capable of interpreting them as anomalous elements, when they had already been over-naturalized:

“I am interested in the direct meaning of objects and reality. I am not concerned with so-called aesthetic or touching interventions. Probably what attracts me most is the relationship I have with the objects. We cannot forget that we remain in a consumer society. Some people still make framed paintings and sculptures on plinths—that is, the old definition of art. We cannot ignore our historical moment; it is useless to continue with the techniques of the twentieth century. I’m thinking about art that challenges and goes around the bureaucratic paths of consumer society in its impotent ignorance" (González, 1979).”

Barney thus created works from the critical and intuitive collection of the detritus of the cultural practices of a consumer society that was just beginning to manifest its devastating capacity in the early eighties. She provided a gaze that we are only beginning to see in contemporary reflections, the relationship between cities and the environment, their intimate and harmful relationship. As an ethnographer, she began to recognize and travel through space as a collector of information, without a fixed address, only as a witness to everyday events, and her diaries were a collection of garbage and traces of the human footprints in space:

“In an attempt that was wonderful as an experience, I acted as a shaman in gathering up the objects. I wasn't picking up everything I saw, I was living in a different state of consciousness, not the standard every day one. However, I must make clear that I was not under the influence of any drugs, but rather living with enormous intensity. This state has repeated itself several times in my works. Then when I was writing my thesis, I found information about The Store by Claes Oldenburg. It was wonderful, because there was my experience translated into ideas, into words. But for me the experience came first and always does [...] The need for art not only to have a theoretical meaning but, above all, an experiential one is for me the basis of its transformational capacity, that is, its ability to touch the world significantly. (Barney, 2016)”

That interest in the everyday soon became a constant gesture in several of her works: the duration of the recollection of time and space. Oldenburg became one of her main points of reference when she created a work that, although apparently a faithful copy of reality, suggested a different way of looking at it, since it was a matter of recognizing the trace quality of all the objects and the waste that consumer society implied. Barney poses a landscape not as an idyllic environment, but as a symbol of destruction. Thus, her works refer to a precise space, not an idea of it or its aesthetization. The landscape is no longer an image but a trace and an indication of the relationship between human beings and space. In this manner, Barney extended the limits of art, seeking to propitiate a transformation. But her intention was not merely to issue a complain, but to capture something human:

“Whether we call all art "political" or only that art that is more plain in its denunciations, ART does not appear to have any "teeth." Its consequences, its effectiveness in producing changes in ordinary life of the public or the individual or at a mass level are limited. Its sphere of influence seems to fluctuate between art as a show widely co-opted by the media, or the timid calling-out that is drowned in small spheres of interest without real drive or transformative force at the mass level. To my mind, there is no comparison—not even close—between the impact of five scientific vessels orbiting Mars with noticeably clear intentions and an artist planting cassava and teaching women to do batik in a remote town without a health outpost and without even a rough road, distressingly exposed to the criminal whims of guerrillas and drug traffickers (apologies for the redundancy). Art has no teeth, seems to stumble poetically on a soon-lifeless planet that will no longer be able to sustain music, nor art, nor poetry. Darse cuenta, lecture given at Errata 2014, read on November 12, 2014, at the Errata 10 Colloquium entitled Polémicas ambientales - Prácticas sostenibles (Environmental Controversies—Sustainable Practices), can be used by the recipients so long as it is not modified and credit is given to the author, Alicia Barney Caldas Pratt M.F.A. Institute '77 (Barney, 2014).”

The critical nature of Barney's gaze keeps her conviction intact, allows her to continue as an insubordinate pioneer of a structure that gazes from afar to affirm something that many think, but few dare to formulate given the narrowness of the local art field.

Featured works

  • 1975: Sin título (Untitled)
    • Puente sobre tierra.: Puente sobre tierra (Bridge Over Earth)
    • Viviendas I.: Viviendas I (Houses I)
  • 1976: La música y los músicos (Music and Musicians)
    • Cuerda (Rope)
    • Series of three books
  • 1977 1977: Object Diary, Series I
  • 1978: Object Diary, Series II, made up of Pratt I, Pratt II, Bocagrande I, Bocagrande II, Cali-Florida, Un día en la montaña (A Day on the Mountain), Gorky A and B, and Sin título (Untitled)
  • 1980: Yumbo
  • 1981: Río Cauca (currently part of the Galería La Sucursal collection)
  • 1981-1982: El ecológico (altered newspaper, some of these editions are part of the Toluca Fine Art collection)
  • 1984: Sin título (Untitled) (three metallic structures with canvas and objects)
    • Sin título (Untitled)
    • Odio el dibujo [orden] (I Hate Drawing (Order))
    • Sin título (Untitled)
  • 1987-2014-2015: Estratificación de un basurero utópico (Stratification of a Utopian Dump)
  • 1988: La requisa (The Inspection)
  • 1989: Pre-Columbian Object I
  • 1990: Pre-Columbian Object II (a)
  • Pre-Columbian Object II (b)
  • 1993: Aves en el cielo I (Birds in the Sky I)
  • Aves en el cielo II (Birds in the Sky II)
  • 1994: The Golden Branch (La rama dorada)
  • 1995: Proyecto meta-recinto (Mega Enclosure Project)
  • 1996: Proyecto Museo del Oro (Gold Museum Project)
  • 1997: Triqui
    • Nahual eterno (Eternal Nahual)
    • Nahual Infante (Infant Nahual)
    • Sin ruido (Noiseless)
    • Juguete de las hadas (Fairy Toy)
  • 1998: Viviendas II (Homes II)
  • Sujeto como tal (Subject As Such)
  • Taxonomía (Taxonomy)
  • 1999: Mark Thiesen
  • 2001: Las flores del mal (The Flowers of Evil)
  • 2008: Yumbo 2
  • 2016: El valle de Alicia (Alicia’s Valley)
    • Nueva sensibilidad, antigua presencia (New Sensibility, Old Presence)

Works by Alicia Barney in the Banco de la República Collections

Obras de Alicia Barney Caldas en la Colección de Arte del Banco de la República
Title Year Location Technique Registration number
Los estados que compré (The States I Bought) 1976 Reserve N/A AP6162

Timeline

  • 1952:Born in Cali on November 28.
  • 1974:Earned a bachelor of fine arts degree from the College of New Rochelle in New York.
  • 1977:Obtained a master of fine arts degree from the Pratt Institute in New York.
  • 1978:Individual exhibition at Universidad del Valle and the Governor's House in Cali, presenting Diario Objeto I (Object Diary I).
  • 1979:Participated in the V Atenas Salon at the Bogotá Museum of Modern Art.
  • 1980:Participated in the collective exhibitions: Arte para los años ochenta (Art for the Eighties) at La Tertulia Museum in Cali, 14 artistas de Cali (14 Artists from Cali) at the gallery of Banco Central Hipotecario in Bogotá, and Década de los setentas (The Seventies) at the Cali Chamber of Commerce.
    • Participated in the XXVIII National Artists' Salon at the National Museum in Bogotá and won first prize at the III Regional Visual Arts Salon in Cali for the work Bocagrande.
  • 1981:With the work Río Cauca, participated in the First Latin American Colloquium on Non-Object Art and Urban Art held at the Museum of Modern Art in Medellín. Also participated in the collective exhibition IV Art Biennial in Medellín.
  • 1982:Individual exhibition El ecológico in the Sara Modiano Alternative Space in Barranquilla. Barney also participated in the collective exhibitions Cinco artistas colombianos (Five Colombian Artists) at the Espacio N.O. gallery in Porto Alegre, Brazil, Nuevos aportes y tendencias (New Contributions and Trends) at the Centro Colombo Americano in Bogotá, and La mujer en América: perspectivas emergentes (Women in the Americas: Emerging Perspectives) at the Inter-American Center in New York.
  • 1983:Participated in the collective exhibition Actitudes Plurales (Plural Attitutes) at the La Tertulia Museum of Modern Art in Cali.
  • 1984:Participated in the group exhibition Aspectos de lo tridimensional (Aspects of the Three-Dimensional) at the La Tertulia Museum of Modern Art in Cali.
  • 1985:Participated in the collective exhibition Cien años de arte colombiano (One Hundred Years of Colombian Art) and Barney, Caro Echeverri at the Medellín Pilot Public Library.
  • 1986:Participated in the XXX Annual Colombian Artists’ Salon.
  • 1987:Participated in the collective exhibition Douze Mondes Colombiens at the Grand Palais in Paris.
  • 1988:Participated in the first Art Biennial at the Bogotá Museum of Modern Art.
  • 1989:Participated in the collective exhibition Doce escultores colombianos/materiales e ideas (Twelve Colombian Sculptors: Materials and Ideas) at the Chamber of Commerce in Cali.
  • 1990:Participated in the second Art Biennial at the Bogotá Museum of Modern Art.
  • 1991:Participated in the collective exhibition 100 obras de la Colección/pequeño formato (100 Works from the Collection: Small Format) at the La Tertulia Museum of Modern Art in Cali.
  • 1992:Francisco de Paula Santander Scholarship. Participated in the collective exhibition América Novia del Sol (The Americas: Bride of the Sun) at the Royal Museum of Fine Arts in Antwerp, Belgium.
  • 1993:Solo exhibition Aves en el cielo (Birds in the Sky) at Gartner Torres gallery in Bogotá. Participated in the group exhibitions Pulsiones at the La Tertulia Museum of Modern Art in Cali and Degas en el trópico (Degas in the Tropic) at the Art Museum of the National University of Bogotá.
  • 1994:Participated in the XXXV National Artists' Salon.
  • 1995:Participated in the collective exhibition Arte para Bogotá (Art for Bogotá) at the Santa Fe gallery.
  • 1997:Participated in the collective exhibitions Imaginación y fantasia (Imagination and Fantasy) at the La Tertulia Museum of Modern Art in Cali and the International Art Festival of the Medellín Museum of Modern Art.
  • 1998:Solo exhibition Fairy Toys (Juguetes de las hadas) at the Pereira Art Museum and La Merced Museum in Cali. Also participated in the collective exhibitions Fragilidad (Fragility) at the Art Museum of the National University of Bogota, Piezas de caza (Hunting Pieces) at the Espacio Vacío gallery in Bogota, and the VI Bogotá Museum of Modern Art Art Biennial, where she obtained a special mention.
  • 1999:Participated in the collective exhibition El traje del emperador (The Emperor's New Clothes) at the Santa Fe gallery at Bogotá.
  • 2001:Participated in the collective exhibitions 1930-2001: Odisea de un espacio (1930-2001: Odyssey of a Space) at the Valenzuela and Klenner gallery in Bogotá and Flores del mal (Flowers of Evil) at Espacio Vacío gallery in Bogotá.
  • 2008:Participated in the 41st National Artists' Salon.
  • 2014:Participated in the group exhibitions Contraexpediciones (Contraexpeditions) at the Museo de Antioquia, Basurero Utopico (Utopian Dump) at Instituto de Visión gallery, and The Phylogeneis of Generosity at Prinzessinnengarten in Berlin.
  • 2015:Individual exhibition El Basurero (The Dump) in La Sucursal Cali gallery. Participated in the collective exhibitions Bienal Mercosur in Porto Alegre, Brazil, and Referentes Lo continuo/Lo discontinuo (References: Continuity and Discontinuity) at Artbo Bogotá.
  • 2016:Participated in the XXXII Sao Paulo Biennial in Brazil with her work Valle de Alicia (Alicia's Valley) at Ibirapuera Parl. Also participated in the 44th National Salon of Artists and Mutinous Nature at MAMBO in Bogotá. Her work Untitled (1984) was included in the in References at ARTBO.
  • 2017:Participated in the collective exhibition Radical Women at the Brooklyn Museum in New York City.
  • 2018:Participated in the collective exhibition El arte de la desobediencia (The Art of Disobedience) at MAMBO in Bogotá. El ecológico was included in 33 Revoluciones (33 Revolutions), curated by Sylvia Suárez for References ARTBO, 2017.

Véase también

Bibliography

  • González, M. (1979, December 30). El azar como expresión. El País, p. 11-12.

Banco de la República Art Collection

Credits

1. Research and text: Laura Alejandra Rubio León, 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).


¿Tienes un minuto? Queremos saber tu opinión

Estamos mejorando La Enciclopedia de Banrepcultural y tu opinión es muy importante para nosotros.
Te invitamos a completar una breve encuesta, que te tomará solo 2 minutos:

Completar la encuesta


¡Explora todas nuestras colecciones en Banrepcultural!

Descubridor

Explora el catálogo bibliográfico de la Red de Bibliotecas del Banco de la República

Para niños y niñas

Programación, servicios y contenido para niños y niñas.

Colección de arte

Explora en más de seis mil piezas de ate colombiano, latinoamericano e internacional.

Biblioteca Virtual

Colecciones digitales de libros, imágenes, mapas, periódicos.

Colección arqueológica

Explora las piezas de orfebrería de la colección del Museo del Oro.

Colección de monedas y billetes

Cerca de 40 mil piezas numismáticas que puedes explorar.


Boletín Cultural y Bibliográfico

Consulta todos los números de la revista más importante de la Biblioteca Luis Ángel Arango.

Colección Filatélica

Estampillas colombianas. Rarezas y curiosidades que podrás conocer explorando esta colección.

Colección Etnográfica de Leticia

Elementos vivos de las comunidades indígenas que habitan la región de la Amazonía colombiana.

Obtenido de «https://enciclopedia.banrepcultural.org/index.php?title=Alicia_Barney_Caldas/en&oldid=23278»