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In parallel, her artistic output defines critiquing based on everyday occurrences — positive and negative — that situate the spectator on the basis of thought and reason. Her thematic discourse encompasses the use of allegory, symbolism, recollection and visual identities, always wedded to reality<ref>Entrevista: Regina Silveira (''Interview: Regina Silveira ''). Periscopio MUAC. https://www.youtube.com/watch?v=fQlZ2r9tbw0</ref>. Similarly, the appearance of her work calls into question the circumstances connected to it, such as the immediate surroundings, ambiguity in the creation of works of art, and how the latter are altered by the spectator. | In parallel, her artistic output defines critiquing based on everyday occurrences — positive and negative — that situate the spectator on the basis of thought and reason. Her thematic discourse encompasses the use of allegory, symbolism, recollection and visual identities, always wedded to reality<ref>Entrevista: Regina Silveira (''Interview: Regina Silveira ''). Periscopio MUAC. https://www.youtube.com/watch?v=fQlZ2r9tbw0</ref>. Similarly, the appearance of her work calls into question the circumstances connected to it, such as the immediate surroundings, ambiguity in the creation of works of art, and how the latter are altered by the spectator. | ||
In numerous interviews she has cited the Brazilian artist Iberê Camargo and France’s Marcel Duchamp as influences on her style. From the former she draws on the importance of technique as a means and not as an end, as during the process of creation it allows her to explore myriad styles over and above the result. From Duchamp, renowned for his readymades and installations, Regina Silveira uses the many interpretations of his work, always open to an infinity of readings. | |||
Paralelamente, su producción artística define la crítica desde acontecimientos cotidianos, positivos y negativos, que sitúan al espectador desde el pensamiento y el raciocinio. El uso de alegorías, simbolismos, remembranzas e identidades visuales engloban su discurso temático, siempre adherido a la realidad.<ref>Entrevista: Regina Silveira. Periscopio MUAC https://www.youtube.com/watch?v=fQlZ2r9tbw0</ref> De igual forma, la apariencia de su trabajo pone en tela de juicio las circunstancias anexas a ellas, como el espacio inmediatamente cercano y la ambigüedad en la producción de obras y la alteración de estas por el público. | Paralelamente, su producción artística define la crítica desde acontecimientos cotidianos, positivos y negativos, que sitúan al espectador desde el pensamiento y el raciocinio. El uso de alegorías, simbolismos, remembranzas e identidades visuales engloban su discurso temático, siempre adherido a la realidad.<ref>Entrevista: Regina Silveira. Periscopio MUAC https://www.youtube.com/watch?v=fQlZ2r9tbw0</ref> De igual forma, la apariencia de su trabajo pone en tela de juicio las circunstancias anexas a ellas, como el espacio inmediatamente cercano y la ambigüedad en la producción de obras y la alteración de estas por el público. | ||
Revisión del 12:24 13 sep 2021
| Nombre | Regina Silveira |
|---|---|
| Fecha de nacimiento | 1939 |
| Nacionalidad | Brasileña |
| Ocupación | Artista |
| Estudios universitarios | Licenciatura en Artes del Instituto de Artes de la Universidad Federal de Rio Grande do Sul |
| Formación profesional | Diseño en la Pontificia Universidad Católica de Rio Grande do Sul |
| País de nacimiento | Brazil |
| Ciudad de nacimiento | Porto Alegre |
Regina Silveirais a Brazilian artist who was born in Porto Alegre in 1939. Her work is associated with a multi-dimensional interpretation of reality through the use of light and shade, perspective, optical illusions and visual representation. She has also worked as an educator in several universities in Brazil, from where she advocates the use of new artistic technologies that will enable the development and interpretation of contemporary art.
Biography
Regina Silveira was born in the city of Porto Alegre in the Brazilian state of Rio Grande do Sul in 1939. She completed her studies for a bachelor’s degree in Art at the Arts Institute of the Federal University of Rio Grande do Sul in 1959, followed some time later by a degree in Design at the Pontifical Catholic University in the same state. During the 1960s she attended a variety of painting and printmaking classes with the Brazilian artists Iberê Camargo, Francisco Stockinger and Marcelo Grassmann, which enabled her to expand her knowledge of art techniques and build the foundations for a new professional approach. From 1964 to 1969 she worked as a professor at the Arts Institute of the university where she received her Art degree. In 1967 she began to study Philosophy and Literature in Madrid, and two years later, in 1969, was invited to teach classes at the Faculty of Arts and Sciences at the University of Puerto Rico. Between 1973 and 1985 she taught at the Fundación Armando Alvares Penteado in Sao Paulo, and she has been a professor at the School of Communication and Art at the University of Sao Paulo since 1974[1].
Artistic career
Since her days as a student at the Federal University of Rio Grande do Sul, Silveira has been immersed in the field of the arts. Between 1991 and 1994 she was a resident of New York as a result of receiving a scholarship from the John Simon Guggenheim Foundation, the Pollock-Krasner Foundation and the Fulbright Foundation. In 1995 she was awarded another scholarship focused on an artistic residency from the Fundación Civitella Ranieri. From the end of the 1960s and beginning of the 1970s, the artist produced various sculptures and screen prints with an obvious geometric influence. During her trips to Europe she deepened her knowledge of art history, something that enabled her to broaden her thinking regarding art and relate it with a visual poetry. Upon her return to Brazil she started using non-conventional materials such as metal, wood and plastic. During this period, she produced her first prints with abstract themes and, similarly, in this geometric phase she began to make use of grids and perspective. In various screen prints, she enables a vision of the social reality in a contemporary setting; her 1971 collection of screen prints entitled Laberintos (Labyrinths) encompasses a social vision from the perspective of the masses. The use of photographs of historic and famous places in Brazil in her 1977 series Brazil Today: Belezas Naturais (Natural Beauties) allowed her to employ the offset printing technique to offer a new perspective of Brazilian geography. In the 1970s, her series Topografias (Topographies) made use of a revolver to define the sense of reality, while in the early 1980s her series Anamorfas (Anamorphs) drew on perspective using everyday objects, repurposing and distorting them to give them different sizes and interpretations. In her 1984 series Simulacros (Simulations), she used the shadows of a variety of objects to create a visual distortion. From the beginning of 1990 to the present day, Regina Silveira has utilized interventions in public spaces involving mock-up models and the facades of iconic buildings, streets, avenues, squares or transport stations in Brazil and several countries of Europe and the Americas, fostering a sense of depth and animation while at the same time bringing about the creation of dialogue with the architecture[2].
Characteristics of her work
The work of Regina Silveira is steeped in the techniques of drawing, printmaking, photography, lighting, and small- and large-scale interventions. She employs social and political parody in order to present personal and collective emotional dimensions, concentrating on the perspective and experience of the spectator. Her artistic research has dealt with the visual image of absence and presence through an artistic and conceptual evocation of Dadaism and Surrealism, with a view to questioning the nature and essence of the senses with regard to perception. This involves the awareness and ideas that may be held by people when defining or interpreting a given object or situation.
In numerous interviews she has cited the Brazilian artist Iberê Camargo and France’s Marcel Duchamp as influences on her style. From the former she draws on the importance of technique as a means and not as an end, as during the process of creation it allows her to explore myriad styles over and above the result. From Duchamp, renowned for his readymades and installations, Regina Silveira uses the many interpretations of his work, always open to an infinity of readings.
In parallel, her artistic output defines critiquing based on everyday occurrences — positive and negative — that situate the spectator on the basis of thought and reason. Her thematic discourse encompasses the use of allegory, symbolism, recollection and visual identities, always wedded to reality[3]. Similarly, the appearance of her work calls into question the circumstances connected to it, such as the immediate surroundings, ambiguity in the creation of works of art, and how the latter are altered by the spectator.
In numerous interviews she has cited the Brazilian artist Iberê Camargo and France’s Marcel Duchamp as influences on her style. From the former she draws on the importance of technique as a means and not as an end, as during the process of creation it allows her to explore myriad styles over and above the result. From Duchamp, renowned for his readymades and installations, Regina Silveira uses the many interpretations of his work, always open to an infinity of readings.
Paralelamente, su producción artística define la crítica desde acontecimientos cotidianos, positivos y negativos, que sitúan al espectador desde el pensamiento y el raciocinio. El uso de alegorías, simbolismos, remembranzas e identidades visuales engloban su discurso temático, siempre adherido a la realidad.[4] De igual forma, la apariencia de su trabajo pone en tela de juicio las circunstancias anexas a ellas, como el espacio inmediatamente cercano y la ambigüedad en la producción de obras y la alteración de estas por el público.
Obras destacadas:
- 1968: Programa
- 1977: Brazil Today
- 1980: Anamorfas
- 1983: In Absentia Marcel Duchamp
- Topo-Sombra
- 1980: Projectio
- 1990: Auditorium II
- 1994: Vórtice
- 2004: Desaparencia
- 2005: Lumen
Obras de Regina Silveira en las Colecciones del Banco de la República
| Título | Año | Ubicación | Denominación | Registro |
|---|---|---|---|---|
| Desapariencia (Dibujo preparatorio) | 2001 | Reserva | Dibujo | AP4763 |
| Desapariencia | 2001 | Reserva | Instalación | AP4761 |
| Desapariencia (Maqueta) | 2001 | Reserva | Maqueta | AP4762 |
Cronología
- 1939: nace en Porto Alegre, Brasil.
- 1958: obtiene su título de Licenciatura en Artes del Instituto de Artes de la Universidad Federal de Rio Grande do Sul.
- 1980: obtiene su título de Maestría de la Universidad de Sao Paulo / presenta su obra Anamorfas en el Museo de Arte Contemporáneo de la Universidad de Sao Paulo.
- 1981: participa en la Bienal de Sao Paulo.
- 1984: obtiene su título de Doctorado de la misma Universidad.
- 1986: participa en la Bienal de La Habana.
- 1988: expone su obra Projectio en la Fundación Calouste Gulbenkian de Lisboa.
- 1990: expone su obra Auditorium II en Porto, Portugal y en la India.
- 1999: presenta su obra Desapariencia en el Centro Cultural Gabriela Mistral, Santiago de Chile.
- 2005: expone su obra Lumen en el Palacio de Cristal, Museo Reina Sofía, Madrid.
- 2007: presenta la exposición Sombra Luminosa en el Museo de Arte del Banco de la República, Bogotá.
- 2015: presenta la exposición Metáforas construidas en la Galería Lacometa, Bogotá.
Véase también
- Exposición Lumen, Museo Nacional Centro de Arte Reina Sofía, España. 2005. [1]
- Guía de estudio Num. 59: Exposición Sombra Luminosa: [2]
- Regina Silveira, Museo Amparo, Puebla – México. [3]
- Paralelismo entre Marcel Duchamp y Jeff Koons. Archdaily. [4]
Referencias
- ↑ Regina Silveira curriculum vitae. Sobre o artista (About the artist). https://reginasilveira.com/filter/artepublica/SOBRE-A-ARTISTA-about-the-artist
- ↑ O mundo da arte - Regina Silveira (The world of art – Regina Silveira ). Oficina de Artes Visuais Sustentáveis https://www.youtube.com/watch?v=pv-QIUbGhrw
- ↑ Entrevista: Regina Silveira (Interview: Regina Silveira ). Periscopio MUAC. https://www.youtube.com/watch?v=fQlZ2r9tbw0
- ↑ Entrevista: Regina Silveira. Periscopio MUAC https://www.youtube.com/watch?v=fQlZ2r9tbw0
Bibliografía
- De Morales, Angélica. (Ed.). (1996). Regina Silveira. Cartografía da sombra. Sao Paulo: Universidad de Sao Paulo.
- Montejo Navas, Adolfo. (2002). Regina Silveira, o cuando las sombras hablan. Lápiz. Revista Internacional de Arte. (182), pp.52-61.
- Museo Nacional Centro de Arte Reina Sofía. (2005). Luz Lumen. Regina Silveira. Madrid: Museo Nacional Centro de Arte Reina Sofía.
Colección de arte del Banco de la República
- Visite la obra de Regina Silveira en Colección de arte
- Visite la obra de Regina Silveira en Colección de arte
- Visite la obra de Regina Silveira en Colección de arte
Créditos
1.Investigación y texto Alejandro Lozano, mediador de los Museos y Colecciones del Banco de la República, para Banrepcultural
2. Revisión y edición de textos Inti Camila Romero Estrada y Diana Salas, Sección de Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC).
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