Diferencia entre revisiones de «Lydia Azout/en»

Nombre	Lydia Azout
Fecha de nacimiento	1942
Nacionalidad	Colombiana }}
Ocupación	Escultora
Estudios universitarios	Instituto Di Marmo e D’Arte en Pietrasanta, Italia
Formación profesional	taller del artista colombiano David Manzur en Bogotá
País de nacimiento	Colombia }}
Ciudad de nacimiento	Bogotá

Revisión actual - 11:57 21 sep 2021

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Lydia Azout is a Colombian sculptor known for her small and large format works in which she blends nature, geometry, and spirituality.

Biography

Azout was born in Bogotá in 1942. During her childhood she traveled around Panama in the company of her father, getting to know the jungle ecosystem, an environment that inspired some of her future works. She also traveled to the Pacific Ocean, where the sea, beaches, and islands stimulated an interest in nature. ^[1] As a teenager, she became interested in pre-Columbian cultures and their cosmology. Similarly, visits to archaeological sites allowed her to expand the references for her work.

She studied at the workshop of Colombian artist David Manzur in Bogotá from 1970 to 1974. From the mid-seventies, the artist began research to transform her sculpture, turning it into something changing, not at all static. She then traveled to Lucca, Italy, in 1981 to study with Uruguayan artist Luis Camnitzer. In 1988, she studied at the Istituto Di Marmo e d'Arte in Pietrasanta, Italy.

Artistic career

Lydia Azout's artistic journey began in the late seventies with her solo exhibition “Fragmentos” (Fragments) at the Luis Angel Arango Library. In the eighties, she presented several shows, including “Espacios Controlados” (Controlled Spaces) at Alonso Garcés Gallery in 1984; “Fuerzas Agustinianas” (Augustinian Forces) at the Bogotá Museum of Modern Art in 1986; and “Fuerzas Rítmicas” (Rhythmic Forces) at the La Tertulia Museum in Cali in 1988. In 1997 she presented work at the exhibition “Ámbitos de lo Sagrado” (Fields of the Sacred) at the Alejandro Otero Museum in Caracas, Venezuela and “Resonancias” (Resonances) at the National Center for the Arts in Mexico City in 1999.

In 2001 she presented “Una manera de habitar ” (A Manner of Speaking) at the National University of Colombia in Bogotá, and between 2004 and 2005 she exhibited “Memoria, obras, vestigios” (Memory, Works, Vestiges) at the Bolivarian Art Museum in Santa Marta. She also presented the exhibition “360 grados de visión estética” (360 Degrees of Aesthetic Vision) at the Itchimbía Cultural Center in Quito in 2007. In 2012, Azout exhibited in the United States, a show called “Out of the Ordinary Geometry” at the Patricia and Phillip Frost Art Museum at Florida International University, Miami, and “Language of Silence” at the Dot Fiftyone Gallery in Miami. Two years later she would present another show at the same gallery, Going Home. She returned to Alonso Garcés Gallery in 2016 with various individual exhibitions.^[2] Establishing a relationship between her work and public space, she presented the exhibition ”Estructuras del Vacío” (Structures of the Void) at the Bogotá Museum of Modern Art in 2019.

The Colombian artist has participated in numerous collective exhibitions. Her first was in 1985 with “100 años de arte colombiano” (100 Years of Colombian Art), presented at MAMBO and also shown in Sao Paulo, Rio de Janeiro, and Rome. In 1986 and 1989, she participated in the II and III Havana Biennial, respectively, at the Wilfredo Lam Center in the Cuban capital. A year later, in 1990, she was present at the XXXIII National Artists’ Salon in Colombia, which was celebrating its fiftieth anniversary, an event organized by the Colombian Institute of Culture (Colcultura).

In 1992, she participated in “Colombia: Contemporary Images” at the Queens Museum of Art in New York. A year later she was included in the exhibition ABC: Contemporary Art from Argentina, Brazil and Colombia” at the Sydney Mishkin Gallery in New York. She exhibited again in Cali with the exhibition “Merkabah” at the FES Cultural Center in 1995. In 2001, she participated in the exhibition “Arte, Memoria y Sociedad” (Art, Memory and Society) at Colombia’s General Archive in Bogotá. Three years later, she showed at “Salón del Fuego” at Fundación Gilberto Alzate Avendaño in Bogotá. She also participated in ArtBo International Art Fair in Bogotá in 2013 through Beatriz Esguerra Gallery. In 2016, she returned to MAMBO with the exhibition “Colombia en tres dimensiones. Escultura en la colección Museo de Arte Moderno de Bogotá”(Colombia in Three Dimensions: Sculpture in the Bogotá Museum of Modern Art Collection) ^[3]

Characteristics of her work

Lydia Azout's work is based on sculpture with personal, spiritual, natural, and social influences, for which she has used materials such as iron, rusted steel, weathering steel, stainless steel, marble, fique, pita cord, and wood, which allow her to establish different views of materiality, since each of them comes from the earth. For Azout, one of the reasons for making sculptures is the constant search for sources, resources, and influences such as spirituality and geometry.

The San Agustin Archaeological Park and the Lost City in the Sierra Nevada de Santa Marta have inspired Lydia Azout to investigate the mysticism of ancient peoples and spirituality. It has been these spaces and several others that she has visited throughout her life in Peru, Mexico, Indonesia, and Cambodia that have stimulated her creativity and curiosity. ^[4] Similarly, her constant contact with nature evokes the importance of spatiality and natural ecosystems for pre-Hispanic cultures, which used the cosmos as well as rituals to protect and pay tribute to their environment. This frames the magical, energetic, ancestral, and earthly touch of her work.

With regards to geometric practice, the artist has used figures such as the circle, the rhombus, the triangle, the tetrahedron, and the spiral to create simple visual languages of forms and structures, which are reminiscent of minimalism and the absence of detail. Her monumental works, like those exhibited in public space, are designed to be acted upon by the viewer. The simple fact of touching, walking through, and contemplating them conveys an idea of personal and collective appropriation and interaction with the work. The experience allows for a reflection on the materiality and durability of art in a specific environment, investigating the transparency or solidity of her installations.

On the other hand, this artistic and spiritual purpose has been supported by numerous inquiries and investigations that the artist has undertaken to change once and again the meaning of her works, along with the sensory intention and the imagination. Alchemical and physical components are present in the personal artistic style from the design, production, and installation of her works, where each piece fits with the others and produces a special material network. The earthly origin of all the raw materials used in her works, as well as the form and arrangement of the objects, accentuate the metaphorical connotations of her artworks.

Featured works

1984: Estructura No. 1 (Structure 1)
- Estructura No. 2 (Structure 2)
- Estructura No. 3 (Structure 3)
- Estructura No. 4 (Structure 4)
1986: Fuerzas Agustinianas (Augustinian Forces)
1997: Fuerza Femenina (Feminine Power)
2004-2005: Serie Mundo Interno (Internal World Series)
2012: Cosmic Power VI (Fuerza del Cosmos VI)
- Origen de Vida V (Origin of Life V)
- Lenguaje del Silencio I (Language of Silence I)
- Inacabados I (Unfinished I)
2017: Umbral Dinámico (Dynamic Threshold)
2018: Estructura del Vacío I (Structure of the Void I)
2019: Estructura del Vacío II (Structure of the Void II)

Works by Lydia Azout in the Banco de la República Collections

**Works by Lydia Azout in the Banco de la República Collections**
Title	Year	Location	Technique	Registration number
Serie soles No. 40	1995	Reserve	Sculpture	AP2905

Timeline

1942: Born in Bogotá.
1970: Began art studies at David Manzur's studio.
1978: Exhibited at the Luis Angel Arango Library, Bogotá.
1981: Studied in Italy with Luis Camnitzer.
1988: Studied at the Istituto Di Marmo e d'Arte in Pietrasanta, Italy.
1984: Exhibited for the first time at Alonso Garcés Gallery, Bogotá.
1985: Participated in the exhibition 100 años de arte colombiano (100 Years of Colombian Art) at MAMBO.
1986: Solo exhibition Fuerzas Agustinianas (Augustinian Forces) at MAMBO.
- Participated in the II Havana Biennial, Cuba.
1989: Participated in the III Havana Biennial, Cuba.
1990: Participated in the XXXIII National Artist' Salon.
1992: Participated in a collective exhibition at the Queens Museum of Art, New York.
1993: Participated in the exhibition "ABC Contemporary Art from Argentina, Brazil and Colombia" at Sydney Mishkin Gallery in New York.
1995: Presented Fuerzas Agustinianas (Augustinian Forces) at the National Gallery in Jakarta, Indonesia.
1997: Exhibited at the Alejandro Otero Museum in Caracas, Venezuela.
2001: Participated in an art exhibition at the National General Archive, Bogotá.
2007: Exhibited at Itchimbía Cultural Center in Quito, Ecuador.
2012: Exhibited at the Patricia and Phillip Frost Art Museum in Miami.
2019: Participated with several monumental sculptures in the exhibition Estructuras del Vacío (Structures of the Void) at MAMBO.

References

↑ Enormes esculturas de Lydia Azout se exponen en Quito, en el Palacio de Cristal de Itchimbía. El Tiempo. https://www.eltiempo.com/archivo/documento/CMS-3447037
↑ Lydia Azout CV. Artist’s website. http://lydiaazout.com/
↑ Ibídem.
↑ Enormes esculturas de Lydia Azout… Op. cit.

Bibliography

1. Centro Cultural Itchimbía. (2007). 360 grados de visión estética: Lydia Azout. Quito, Centro Cultural Itchimbía.

2.Serrano, Eduardo. (1994). El Museo de Arte Moderno de Bogotá: una experiencia singular. Bogotá, Bogotá Museum of Modern Art.

Banco de la República Art Collection

Visit Lydia Azout's work at Colección de arte

Credits

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).

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[1] Enormes esculturas de Lydia Azout se exponen en Quito, en el Palacio de Cristal de Itchimbía. El Tiempo. https://www.eltiempo.com/archivo/documento/CMS-3447037

[2] Lydia Azout CV. Artist’s website. http://lydiaazout.com/

[3] Ibídem.

[4] Enormes esculturas de Lydia Azout… Op. cit.

[1]

[2]

[3]

[4]

@@ Línea 46: / Línea 46: @@
 ===Characteristics of her work===
-La obra de Lydia Azout está fundamentada en la escultura con influencias personales, espirituales, naturales y sociales, para lo que ha usado materiales como el hierro, acero oxidado, acero corten, acero inoxidable, mármol, cabuya de fique y madera, que le permiten establecer diversas miradas a la materialidad, puesto que cada uno de ellos proviene de la tierra. Uno de los motivos para realizar sus esculturas se enfoca en la búsqueda constante de fuentes, recursos e influencias como la espiritualidad y la geometría.
+Lydia Azout's work is based on sculpture with personal, spiritual, natural, and social influences, for which she has used materials such as iron, rusted steel, weathering steel, stainless steel, marble, fique, pita cord, and wood, which allow her to establish different views of materiality, since each of them comes from the earth. For Azout, one of the reasons for making sculptures is the constant search for sources, resources, and influences such as spirituality and geometry.
-El Parque Arqueológico San Agustín y la Ciudad Perdida en la Sierra Nevada de Santa Marta, han inspirado a Lydia Azout para investigar sobre el misticismo de la ancestralidad y la espiritualidad. De igual manera, han sido estos espacios y varios que ha visitado a lo largo de su vida en Perú, México, Indonesia y Camboya, los que le han favorecido en la creatividad y la curiosidad al momento de elaborar sus obras<ref>Enormes esculturas de Lydia Azout… Op. cit.</ref>. Asimismo, el permanente contacto con la naturaleza le permite evocar la importancia que tenía la espacialidad y los ecosistemas naturales para las culturas prehispánicas, quienes utilizaron el cosmos y la ritualidad para proteger y respetar su entorno. Lo anterior estipula el toque mágico, energético, ancestral y terrenal de su obra.
+The San Agustin Archaeological Park and the Lost City in the Sierra Nevada de Santa Marta have inspired Lydia Azout to investigate the mysticism of ancient peoples and spirituality. It has been these spaces and several others that she has visited throughout her life in Peru, Mexico, Indonesia, and Cambodia that have stimulated her creativity and curiosity. <ref>Enormes esculturas de Lydia Azout… Op. cit.</ref> Similarly, her constant contact with nature evokes the importance of spatiality and natural ecosystems for pre-Hispanic cultures, which used the cosmos as well as rituals to protect and pay tribute to their environment. This frames the magical, energetic, ancestral, and earthly touch of her work.
-En relación con la práctica geométrica, la artista ha utilizado figuras como el círculo, el rombo, el triángulo, el tetraedro y la espiral para crear lenguajes visuales sencillos de formas y estructuras, que recuerdan en cierta medida al minimalismo o la ausencia de detalles. Sus obras monumentales, como aquellas expuestas en espacio público, están diseñadas para ser intervenidas por el espectador. El simple hecho de tocarlas, transitarlas y contemplarlas promulga una idea de apropiación e interacción personal y colectiva de su trabajo. De igual forma, esta experiencia permite reflexionar sobre la materialidad y la perdurabilidad del arte en un ambiente específico, indagando por la transparencia o solidez de sus instalaciones.
+With regards to geometric practice, the artist has used figures such as the circle, the rhombus, the triangle, the tetrahedron, and the spiral to create simple visual languages of forms and structures, which are reminiscent of minimalism and the absence of detail. Her monumental works, like those exhibited in public space, are designed to be acted upon by the viewer. The simple fact of touching, walking through, and contemplating them conveys an idea of personal and collective appropriation and interaction with the work. The experience allows for a reflection on the materiality and durability of art in a specific environment, investigating the transparency or solidity of her installations.
-Por otra parte, este propósito artístico y espiritual ha estado soportado en numerosas indagaciones e investigaciones realizadas por la artista para cambiar una y otra vez el significado de sus trabajos, la intención sensorial y la imaginación. Componentes alquímicos y físicos están presentes en el estilo artístico personal desde el diseño, la producción y la instalación de sus obras, donde cada pieza encaja con la otra y desde el cual se genera una red matérica especial. Singularmente, el origen terrenal de toda la materia prima utilizada en sus trabajos, así como la forma y disposición de los objetos, acentúan la connotación metafórica y sensible de su producción artística.
+On the other hand, this artistic and spiritual purpose has been supported by numerous inquiries and investigations that the artist has undertaken to change once and again the meaning of her works, along with the sensory intention and the imagination. Alchemical and physical components are present in the personal artistic style from the design, production, and installation of her works, where each piece fits with the others and produces a special material network. The earthly origin of all the raw materials used in her works, as well as the form and arrangement of the objects, accentuate the metaphorical connotations of her artworks.
-===Obras destacadas===
+===Featured works===
-*'''{{Fecha|1984|link=}}''': Estructura No. 1
+*'''{{Fecha|1984|link=}}''': Estructura No. 1 (Structure 1)
-**Estructura No. 2
+**Estructura No. 2 (Structure 2)
-**Estructura No. 3
+**Estructura No. 3 (Structure 3)
-**Estructura No. 4
+**Estructura No. 4 (Structure 4)
-*'''{{Fecha|1986|link=}}''': Fuerzas Agustinianas
+*'''{{Fecha|1986|link=}}''': Fuerzas Agustinianas (Augustinian Forces)
-*'''{{Fecha|1997|link=}}''': Fuerza Femenina
+*'''{{Fecha|1997|link=}}''': Fuerza Femenina (Feminine Power)
-*'''{{Fecha|2004-2005|link=}}''': Serie Mundo Interno
+*'''{{Fecha|2004-2005|link=}}''': Serie Mundo Interno (Internal World Series)
-*'''{{Fecha|2012|link=}}''': Fuerza del Cosmos VI
+*'''{{Fecha|2012|link=}}''': Cosmic Power VI (Fuerza del Cosmos VI)
-**Origen de Vida V
+**Origen de Vida V (Origin of Life V)
-**Lenguaje del Silencio I
+**Lenguaje del Silencio I (Language of Silence I)
-**Inacabados I
+**Inacabados I (Unfinished I)
-*'''{{Fecha|2017|link=}}''': Umbral Dinámico
+*'''{{Fecha|2017|link=}}''': Umbral Dinámico (Dynamic Threshold)
-*'''{{Fecha|2018|link=}}''': Estructura del Vacío I
+*'''{{Fecha|2018|link=}}''': Estructura del Vacío I (Structure of the Void I)
-*'''{{Fecha|2019|link=}}''': Estructura del Vacío II
+*'''{{Fecha|2019|link=}}''': Estructura del Vacío II (Structure of the Void II)
-===Obras de Lydia Azout en las Colecciones del Banco de la República===
+===Works by Lydia Azout in the Banco de la República Collections===
 {|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"
-|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Lydia Azout en la Colección de Arte del Banco de la República'''</big>
+|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Works by Lydia Azout in the Banco de la República Collections'''</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
 |-
 ||Serie soles No. 40
 ||1995
-||Reserva
+||Reserve
-||Escultura
+||Sculpture
 ||AP2905
 |-
 |}
-==Cronología==
+==Timeline==
-*1942: nació en Bogotá.
+*'''{{Fecha|1942|link=}}''': Born in Bogotá.
-*1970: comenzó estudios de arte en el taller de David Manzur.
+*'''{{Fecha|1970|link=}}''': Began art studies at David Manzur's studio.
-*1978: expuso en la Biblioteca Luis Ángel Arango, Bogotá.
+*'''{{Fecha|1978|link=}}''': Exhibited at the Luis Angel Arango Library, Bogotá.
-*1981: estudió en Italia con Luis Camnitzer.
+*'''{{Fecha|1981|link=}}''': Studied in Italy with Luis Camnitzer.
-*1988: realizó estudios en el Instituto Di Marmo e D’Arte en Pietrasanta, Italia.
+*'''{{Fecha|1988|link=}}''': Studied at the Istituto Di Marmo e d'Arte in Pietrasanta, Italy.
-*1984: expuso por primera vez en la Galería Alonso Garcés, Bogotá.
+*'''{{Fecha|1984|link=}}''': Exhibited for the first time at Alonso Garcés Gallery, Bogotá.
-*1985: participó en la muestra “''100 años de arte colombiano''” en el MAMBO.
+*'''{{Fecha|1985|link=}}''': Participated in the exhibition 100 años de arte colombiano (100 Years of Colombian Art) at MAMBO.
-*1986: presentó su exposición individual “''Fuerzas Agustinianas''” en el MAMBO.
+*'''{{Fecha|1986|link=}}''': Solo exhibition Fuerzas Agustinianas (Augustinian Forces) at MAMBO.
-**hizo parte de la II Bienal de La Habana, Cuba.
+**Participated in the II Havana Biennial, Cuba.
-*1989: participó en la III Bienal de La Habana.
+*'''{{Fecha|1989|link=}}''': Participated in the III Havana Biennial, Cuba.
-*1990: participó en el XXXIII Salón Nacional de Artistas de Colombia.
+*'''{{Fecha|1990|link=}}''': Participated in the XXXIII National Artist' Salon.
-*1992: hizo parte de una muestra colectiva en The Queen Museum of Art, Nueva York.
+*'''{{Fecha|1992|link=}}''': Participated in a collective exhibition at the Queens Museum of Art, New York.
-*1993: participó de la muestra “''ABC Contemporary Art from Argentina, Brazil and Colombia''” en el Sydney Mishkin Gallery de Nueva York.
+*'''{{Fecha|1993|link=}}''': Participated in the exhibition "ABC Contemporary Art from Argentina, Brazil and Colombia" at Sydney Mishkin Gallery in New York.
-*1995: presentó su obra “''Fuerzas Agustinianas''” en la National Gallery de Yakarta, Indonesia.
+*'''{{Fecha|1995|link=}}''': Presented Fuerzas Agustinianas (Augustinian Forces) at the National Gallery in Jakarta, Indonesia.
-*1997: expuso en el Museo Alejandro Otero en Caracas, Venezuela.
+*'''{{Fecha|1997|link=}}''': Exhibited at the Alejandro Otero Museum in Caracas, Venezuela.
-*2001: participó de una exposición artística en el Archivo General de la Nación, Bogotá.
+*'''{{Fecha|2001|link=}}''': Participated in an art exhibition at the National General Archive, Bogotá.
-*2007: expuso en el Centro Cultural Itchimbía de Quito, Ecuador.
+*'''{{Fecha|2007|link=}}''': Exhibited at Itchimbía Cultural Center in Quito, Ecuador.
-*2012: expuso en The Patricia and Phillip Frost Art Museum de Miami.
+*'''{{Fecha|2012|link=}}''': Exhibited at the Patricia and Phillip Frost Art Museum in Miami.
-*2019: participó con varias de sus esculturas monumentales en el MAMBO con la muestra “''Estructuras del Vacío''”.
+*'''{{Fecha|2019|link=}}''': Participated with several monumental sculptures in the exhibition Estructuras del Vacío (Structures of the Void) at MAMBO.
-==Véase también==
+==See also==
 *[http://lydiaazout.com/.Lydia Azout.]
@@ Línea 119: / Línea 119: @@
 *[http://bitacoranoticias.com/lydia-azout-umbrales-en-la-galeria-alonso-garces/ Lydia Azout “''Umbrales''” en la Galería Alonso Garcés.]
-==Referencias==
+==References==
 {{listaref}}
-==Bibliografía==
+==Bibliography==
+. Centro Cultural Itchimbía. (2007). 360 grados de visión estética: Lydia Azout. Quito, Centro Cultural Itchimbía.
-. Centro Cultural Itchimbía. (2007). 360 grados de visión estética: Lydia Azout. Quito: Centro Cultural Itchimbía.
+.Serrano, Eduardo. (1994). El Museo de Arte Moderno de Bogotá: una experiencia singular. Bogotá, Bogotá Museum of Modern Art.
-. Serrano, Eduardo. (1994). El Museo de Arte Moderno de Bogotá: una experiencia singular. Bogotá: Museo de Arte Moderno de Bogotá.
+==Banco de la República Art Collection==
-==Colección de arte del Banco de la República==
+*Visit Lydia Azout's work at [https://banrepcultural.org/coleccion-de-arte/obra/serie-soles-no-40-ap2905 Colección de arte]
-*Visite la obra de Lydia Azout en [https://banrepcultural.org/coleccion-de-arte/obra/serie-soles-no-40-ap2905 Colección de arte]
+==Credits==
-==Créditos==
+.Research and text: Alejandro Lozano, mediator of Banco de la República museums and collections, for Banrepcultural.
-. Investigación y texto: Alejandro Lozano, mediador de los Museos y colecciones del Banco de la República, para Banrepcultural.
-. 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)
+.Review and editing: Inti Camila Romero Estrada and Diana Marcela Salas Solórzano. Public and Educational Services, Art and Other Collections Unit (UAOC).