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Graciela Sacco considered herself an artist committed to the time and place that she happened to experience. For this reason, she became deeply involved with her context by formulating questions regarding situations of conflict in which the concepts of limit, border, action and reaction converge<ref>Interview for the Art Museum of the Banco de la República, as part of the exhibition “''Nada está dónde se cree…''” between July 9-October 5, 2015 in Bogotá. https://www.youtube.com/watch?v=FGVY6iC7xGY. | Graciela Sacco considered herself an artist committed to the time and place that she happened to experience. For this reason, she became deeply involved with her context by formulating questions regarding situations of conflict in which the concepts of limit, border, action and reaction converge<ref>Interview for the Art Museum of the Banco de la República, as part of the exhibition “''Nada está dónde se cree…''” between July 9-October 5, 2015 in Bogotá. https://www.youtube.com/watch?v=FGVY6iC7xGY.</ref>. | ||
Her influences range from conceptual art to the advertising material published by the media, particularly from the 1960s and 1970s, which were a period of harsh social repression following the emergence of military dictatorships in the Southern Cone of South America. While her work was always strongly rooted in her native Rosario, it also proved to be timely and critical in whichever city of the world Sacco took it to, as was the case in the biennials of São Paulo (1996), Havana (1997 and 2000), Venice (2001) and Shanghai (2004). | Her influences range from conceptual art to the advertising material published by the media, particularly from the 1960s and 1970s, which were a period of harsh social repression following the emergence of military dictatorships in the Southern Cone of South America. While her work was always strongly rooted in her native Rosario, it also proved to be timely and critical in whichever city of the world Sacco took it to, as was the case in the biennials of São Paulo (1996), Havana (1997 and 2000), Venice (2001) and Shanghai (2004). | ||
Sacco participated in numerous international fairs, including the ARCO art fair in Madrid, Art Basel in Miami, Basilea in Switzerland, the Paris Art Fair, Art Chicago, ArteBA in Buenos Aires and ARTBO in Bogotá. Her works are part of the collections of institutions such as the Reina Sofía National Museum Art Center in Madrid, the Paul Getty Foundation in Los Angeles, the Houston Museum of Fine Arts, the Bronx Museum of the Arts in New York, the National Fine Arts Museum in Buenos Aires and the Buenos Aires Museum of Modern Art. | Sacco participated in numerous international fairs, including the ARCO art fair in Madrid, Art Basel in Miami, Basilea in Switzerland, the Paris Art Fair, Art Chicago, ArteBA in Buenos Aires and ARTBO in Bogotá. Her works are part of the collections of institutions such as the Reina Sofía National Museum Art Center in Madrid, the Paul Getty Foundation in Los Angeles, the Houston Museum of Fine Arts, the Bronx Museum of the Arts in New York, the National Fine Arts Museum in Buenos Aires and the Buenos Aires Museum of Modern Art. | ||
Graciela Sacco died suddenly in Rosario in 2017, leaving behind one of the most solid bodies of work in Latin American contemporary art. | Graciela Sacco died suddenly in Rosario in 2017, leaving behind one of the most solid bodies of work in Latin American contemporary art. | ||
Revisión actual - 10:32 16 sep 2021
Graciela Sacco considered herself an artist committed to the time and place that she happened to experience. For this reason, she became deeply involved with her context by formulating questions regarding situations of conflict in which the concepts of limit, border, action and reaction converge[1]. Her influences range from conceptual art to the advertising material published by the media, particularly from the 1960s and 1970s, which were a period of harsh social repression following the emergence of military dictatorships in the Southern Cone of South America. While her work was always strongly rooted in her native Rosario, it also proved to be timely and critical in whichever city of the world Sacco took it to, as was the case in the biennials of São Paulo (1996), Havana (1997 and 2000), Venice (2001) and Shanghai (2004). Sacco participated in numerous international fairs, including the ARCO art fair in Madrid, Art Basel in Miami, Basilea in Switzerland, the Paris Art Fair, Art Chicago, ArteBA in Buenos Aires and ARTBO in Bogotá. Her works are part of the collections of institutions such as the Reina Sofía National Museum Art Center in Madrid, the Paul Getty Foundation in Los Angeles, the Houston Museum of Fine Arts, the Bronx Museum of the Arts in New York, the National Fine Arts Museum in Buenos Aires and the Buenos Aires Museum of Modern Art. Graciela Sacco died suddenly in Rosario in 2017, leaving behind one of the most solid bodies of work in Latin American contemporary art.
- ↑ Interview for the Art Museum of the Banco de la República, as part of the exhibition “Nada está dónde se cree…” between July 9-October 5, 2015 in Bogotá. https://www.youtube.com/watch?v=FGVY6iC7xGY.