View upcoming auction estimates and receive personalized email alerts for the artists you follow. Margarita Azurdia (born April 17, 1931 in Antigua, Guatemala, died July 1, 1998 in Guatemala City, Guatemala), who also worked under the pseudonyms Margot Fanjul, Margarita Rita Rica Dinamita, and Anastasia Margarita, was a feminist Guatemalan sculptor, painter, poet, and performance artist.[1][2]. s. F'. Spatially, the drawings explore the small city of Antigua Guatemala around 1930-1940, and include references to her time in Paris. In 1923, he moved to Madrid to study with Fernando Alvarez de Sotomayor, a portrait painter and teacher to Salvador Dal. Margarita Azurdia made experimental works that explored gender and mythological icons during the Guatemalan Civil War (19601996). Azurdia originally commissioned local artisans specialising in traditional woodwork and religious icons to create fifty wood carvings based on their interpretations of her drawings and instructions. [1], After her death in 1998, her home in Guatemala City (located at 16-39 5th Avenue, zone 10) became a museum, the Museo Margarita Azurdia,[1] where many of her paintings, sculptures, and photographs are displayed. El encuentro de Una Soledad (An Encounter with Solitude), included in a group exhibition organised by the Au Lieu dimages gallery in Paris in 1979, 27 apuntes de Margarita Rita Rica Dinamita (27 Notes by Margarita Rita Rica Dinamita, 1979), Des flashbacks de la vie de Margarita par elle mme (1980) and 26 anotaciones de Margarita Azurdia (26 Notes by Margarita Azurdia, 1981) are other examples of artists books from this period, in which Azurdia plays with words, humour, and often discordant rhythms. The exhibition also looks at Margaret Azurdias last works, produced in 1998, the year of her death: two wardrobealtars which she signed Margarita Anastasia in memory of the slave Escrava Anastacia, a folk saint venerated in Brazil. This exhibition surveys her career by way of an extensive body of work that includes painting, sculpture, and non-object art, as well as artists books made from drawings, collages, and poems. This publication includes an essay by Rosina Cazali and images courtesy of Milagro de Amor, S.A. Margarita Azurdia (Guatemala, 1931-1998), also known as Margot Fanjul, Margarita Rita Rica Dinamita y Anastasia Margarita, lived ahead of her time. The Most Influential Latin American Artists of the 20th Century [2], She also presented her work in collective and individual shows in Mexico, the United States, France, and Central America. (Salir/ Donoso believed in the revolutionary potential of art when situated in public spaces. Utilizing graphic, accessible, representational imagery informed by her background in printmaking, Donosos work addressed the public directly. He made a name for himself as a printmaker, earning the title Painter of the People. In 1954, Tufio was awarded a Guggenheim Fellowship, and created the print portfolio El Caf in addition to his famous mural La Plena (195254), referring to the traditional Puerto Rican musical genre. Courtesy of Milagro de Amor, legacy of the artist.He decided the names like someone. By the early 1980s, he began to work with found materials in sculptural installations. Between 1971 and 1974, Margarita Azurdia produced the emblematic group of sculptures known as Homenaje a Guatemala (Homage to Guatemala), which again emphasises the constant dialogue between her work and its surroundings. On her return to Guatemala in 1982, Azurdia met artists Benjamn Herrarte and Fernando Iturbide. Autobiographical in nature, the series revisits childhood moments and family ties, as well as domestic environments and periods of illness. NextGenerationEU, Plan de Recuperacin, Transformacin y Resiliencia, Ministerio de Educacin, Cultura y Deporte, Portal de Transparencia | Gobierno de Espaa, Donations and long term loans at the Museo Reina Sofia. In 1957, he moved to Paris, before returning to Mexico until the end of his life. Browse map, Margarita Azurdia, Women Transporting Yellow Bananas, 1971-1974. Much of her work is grounded in her roots of Afro-Peruvian culture. Margarita Azurdia was a key figure in the vibrant art scene that surfaced in Guatemala in the mid-1960s, her extensive output spanning painting and experimental dance, sculpture, installation and the creation of artists books assembled with drawings, collages and poems.Through a retrospective gaze, this publication offers an In 1958, Santa Cruz co-founded Cumanana, Perus first Black theater company. In 1968, the Geomtricas series was exhibited at Galera DS in Guatemala City and at Cisneros Gallery in New York. In doing so, Ikezoe researched Azurdias visual methodology, and relied on images found in the catalogue Tres Mujeres, Tres Memorias: Margarita Azurdia, Emilia Prieto y Rosa Mena Valenzuela (TEOR/Tica, 2009). To Douse the Devil for a Ducat, 2015. Born to a wealthy family in Coyoacn, Mexico City, Kahlo was introduced to art at an early age through her fathers photography. At the Third Coltejer Art Biennial (1972), her series of mobile marble sculptures stood out for being subject to spectators impulses. Margarita Azurdia next to a sculpture from her series 'Minimalist. Tufio produced various works commissioned by the Puerto Rican government, specifically posters meant to promote culture and public health on the island. From 1971 to 1974, Azurdia made an emblematic series of sculptures known asHomenaje a Guatemala(Homage to Guatemala), made up of fifty wood carvings commissioned to artisans specialised in religious figures, resulting in a set of assemblages with artisan objects, zoomorphic figures and women wearing boots, rifles and tropical fruit evoking the altars of thealtiplanotowns in Guatemala and referencing the cultural and religious syncretism imbuing the complex history of Guatemala. Sitio web del Museo Reina Sofa. Lightboxes. On her return to Guatemala in 1982, Azurdia met artists Benjamn Herrarte and Fernando Iturbide. He successfully led student strikes and eventually joined the revolutionary army. In 1928, do Amarals art was the centerpiece of the Manifesto Antropfago, which called for cultural cannibalismencouraging a Brazilian art form that ate and digested diverse artistic traditions and transposed them into a new, Brazilian context. In them, Azurdia reflected on life, pain, hopes, and the mystery of existence. In 1970, three of these works were shown at the third Saln Independiente in Mexico. Like other Latin American artists working at the time, and in keeping with formal and conceptual developments in the international art world, Azurdia became interested in actively incorporating the public in her works. She also kept working onthe ideas of care and healing in relation to nature and the environment, through workshops she ran at the Omega Institute. In 1975, Lucena published an anthology of critical essays in which she condemned the bourgeois roots of Colombian art, and advocated for new art forms that are anti-imperialist and rooted in revolutionary class consciousness. Upon her return to Guatemala, Azurdia formed the experimental performance group Laboratorio de Creatividad, emphasizing humanitys spiritual connections with the Earth and all of its species. Suscrbete para recibirnoticias del NuMu, What we should note and take into account, because it has its consequences even in the Genesis of Spirit, is the indisputable relationship that genetically associates the atom to the star. Once logged in, you can add biography in the database. Soto began to work alongside artists like Jean Tinguely and Victor Vasarely, as well as with the New Realism artistic movement. Margarita Rita Rica Dinamita is the first monographic exhibition in Europe of Margarita Azurdia (Antigua Guatemala, 1931 Guatemala City, 1998), one of the key Central American artists of the 20th century. 1979) is a New York-based artist born in Kochi, Japan. WebMargarita Azurdia (born 1931 Antigua, Guatemala- 1998) Margarita Azurdia was a painter, sculptor, poet, dancer, performance artist who was a lifelong experimenter. [2], After spending eight years in Paris where she focused on her poetry and painting,[2][3] Azurdia returned to Guatemala in 1982, where she defended animal rights, gave workshops on the origins of sacred dance, and continued to write poetry. After closing the exhibition, and as a symbolic gesture of friendship and gratitude, NuMu will donate replicas to Milagro de Amor, S.A. At the closing of the exhibition, the museum will donate both works to Milagro de Amor, S.A., which pertains to Azurdia's familia and estate. Guided by an interest in formal purity, Garafulic used materials like marble, bronze, and terracotta. While in Paris, she also began a series of drawings entitled Recuerdos de Antigua (Memories of Antigua, 1976-1992), an introspective journey through the folds of memory and a therapeutic process that allowed her to let go of traumatic experiences from the past. For the rest of his career, Capelln made the ocean his subject matter, as well as his source of materials. [1] Through this group, Azurdia explored the notions of ritual in everyday life, space, and time through the medium of dance. Berni began to develop his own works through the lens of new realism, or the belief that art should truthfully reflect the social realities of the working classes. After the group disbanded in 1985, Azurdia continued to explore relationship between art and spirit. WebThe exhibition Margarita Azurdia. Through this group, Azurdia explored the notions of ritual in everyday life, space, and time through the medium of dance. Centurins work embodies an ethos of honest, tender reconciliation during the AIDS epidemic that ravaged artistic communities globally. The exhibition also looks at Margaret Azurdias last works, produced in 1998, the year of her death: two wardrobealtars which she signed Margarita Anastasia in memory of the slave Escrava Anastacia, a folk saint venerated in Brazil. Enterprise. Born in New York City, he moved to Puerto Rico at the age of 10. Akira Ikezoe(b. Torres-Garca is credited with the establishment of a new political and aesthetic order in the region, fusing transatlantic discourses. In 1925, he traveled to Europe and became involved with Surrealist avant-garde circles. Autobiographical in nature, the series revisits childhood moments and family ties, as well as domestic environments and periods of illness. Together, they founded an experimental dance group called Laboratorio de Creatividad, which became a vehicle for their interest in movement, the origins of ritual, and sacred dance. Required fields are marked *. From the mid-1960s to the beginning of the decade that followed, Azurdia made incursions into geometric forms inspired by Indigenous textile designs from Guatemala, applying them chiefly to painting her series Geomtricas (Geometric Paintings) went on show at Galera DS in Guatemala City in 1968. [3] In 1982, she was a founder of the group Laboratory of Creativity (Laboratorio de Creatividad) that experimented with performance art in public spaces, theater cafes, art galleries, and museums. Last year, her exhibition at the Museu de Arte de So Paulo broke records as the most well-attended show in the museums history. Azurdia also participated in the biennials of So Paulo and Medellin.After her death in 1998, her home in Guatemala City (located at 16-39 5th Avenue, zone 10) became a museum, the Museo Margarita Azurdia, where many of her paintings, sculptures, and photographs are displayed. Donosos first and only solo exhibition was in 1976 at the Instituto Chileno Francs. Mendieta died at age 36 in New York City. In this role, she implemented new standards for restoration and conservation at the museum. Throughout his life, Siqueiros maintained firm political beliefs that informed every aspect of his artistic practice. This list is not exhaustive by any means. In the 20th century, Latin American artists were, for the most part, not included in dominant accounts of art history. Siquieros painted murals depicting class struggle and strife. His solo exhibitions includeel fin del este coincide con el fin del sur,Proyectos Ultravioleta, Guatemala City (2015);Drawing,Ise Cultural Foundation, NYC (2012);Repeater, Sanagi Fine Arts, Tokyo (2010) andEphemeral Garden, Esso Gallery, NYC (2009). Between 1971 and 1974, Azurdia created a series of fifty wood figurative sculptures, titled "Tribute to Guatemala" ( The exhibitionMargarita Azurdia. Venezuela was in the beginning stages of a repressive military dictatorship, and Pariss vanguard circles offered an enticing promise of artistic freedom and innovationin particular, Cubism. Azurdia continued to experiment and developed performance, poetry, and sculptural works incorporating fictionalized, hybrid religious myths, including Homenaje a Guatemala (197174). Back in Guatemala in 1963, her experiences in California prompted her to hold her first exhibitions. Clark studied painting in Rio de Janeiro and in Paris, focusing on geometric abstraction. Illustrating the realities of life in Argentinas villas miseria, Antonio Berni created representational portraits of poverty, oftentimes using discarded, ready-made materials in his work. The ovala recurring shape in Azurdias early workreappears in this series, linked to cosmology and to the place of humans in the cosmos. The exhibition Margarita Azurdia. Azurdia also participated in the biennials of So Paulo and Medellin. Museo Nacional Centro de Arte Reina Sofa, Margarita Azurdia: Margarita Rita Rica Dinamita, Radical Women Latin American Art, 19601985, Margarita Azurdia at Museo Nacional Centro De Arte Reina Sofa, Margarita Azurdia. At the same time, the prominence of women in Azurdias work should not be overlooked, with female figures portrayed as heroines and mighty warriors. As an artist from Japan, where ancient animism and leading technologies merge, Ikezoe creates works in diverse disciplines, including drawing, painting, video and performance, in relation to the balance betweenthe forces we think of asoutsideorbeforeourselves, and the civilizing of ourselves. WebMargarita Azurdia. [3] The sculptures depict women carrying firearms, babies riding on crocodiles, and tigers transporting bananas, images reminiscent of the magic realism from Latin American literature. As a homage to one of the most important artists in guatemalan art history, NuMu presented scaled-down reproductions of two paintings by Margarita Azurdia from the series Geometric Abstractions (1967-68), which are currently missing. Between 1971 and 1974, Margarita Azurdia produced the emblematic group of sculptures known as Homenaje a Guatemala (Homage to Guatemala), which again In the early 1970s, Lucena became involved with Movimiento Obrero Independiente Revolucionario (MOIR), and this moment marked a radical shift in the subject matter of her work. In them,Azurdia reflected on life, pain, hopes, and the mystery of existence. She presented a group of oil paintings with a limited palette that looked to American Expressionism and Informalism, and a series of concentric oval-shaped paintings in contrasting colors. Rufino Tamayos abstract paintings fused pre-Columbian aesthetics with European modernism, especially Cubism and Surrealism. After World War II, Tamayos paintings took on an expressionistic and gestural quality. At the same time, the prominence of women in Azurdias work should not be overlooked, with female figures portrayed as heroines and mighty warriors. Siquieros remained politically active throughout his life, even traveling to Spain during the Spanish Civil War to fight alongside the Republicans. Between 1971 and 1974, Margarita Azurdia produced the emblematic group of sculptures known asHomenaje a Guatemala(Homage to Guatemala), which again emphasises the constant dialogue between her work and its surroundings. Lucena turned to the issues of the working class, adopting a radical Marxist praxis in her politics and social realism in her artwork. Azurdia, who actively participated in the debates taking place in Latin America between supporters of the movement known as internationalism and those of new humanism or new figurationled in Guatemala by Grupo Vrtebraconcluded that what was truly revolutionary and transformative in art was to take on a commitment to seek new aesthetics and concepts. Margarita Azurdia next to a sculpture from her series 'Minimalist. Sn ttulo, 1960-1970. These more regular ovals refer to the symbolism of the origin of life and the concept of the Omega Point developed by Jesuit philosopher, palaeontologist, and theologian Pierre Teilhard de Chardin. In Downtown Los Angeles, Siqueiros painted Amrica Tropical (1932), which was almost immediately painted over due to its controversial subject matter: a crucified indigenous man beneath an American eagle. In the 1960s, Azurdia publicly opposed neofigurativism (neofigurativismo), an art movement promoted by a group of male artists known as Grupo Vertebra, and was responsible for starting a new art movement known as new conceptual abstraction (nuevo abstraccionismo conceptual) In 1962 Azurdia exhibited her first painting, a self-portrait. Courtesy of Milagro de Amor, legacy of the artist. Dias passed away last year in Rio de Janeiro at the age of 74. In her work she assimilated local culture and discussed gender issues in the context of the Guatemalan civil war (19601996). Margarita Azurdia was a Postwar & Contemporary artist who was born in 1931. A Negra (1923) depicts an abstracted portrait of a worker on her familys fazendaa Black woman who would have been born into slavery. As a child, Dias learned to read through comics, and he pursued graphic design as a young adult, inspired by Brazils Tropiclia movement. Museo Nacional Centro de Arte Reina Sofa, 2023, Museo Nacional Centro de Arte Reina Sofa, Financiado por la Unin Europea. Margarita Azurdia. His transgressive spirit was pierced by the currents that he discovered in the places and times that he inhabited, but especially by the history and culture of Guatemala. For instance, at the Second Coltejer Art Biennial in 1970, held in Medelln, the artist left behind her predominantly pictorial work and adhered more to the spirit of the times with the installationPor favor quitarse los zapatos(Please Take Off Your Shoes), created specifically for the event, whereby she invited viewers to delve into a place of sensorial experimentation through performative and interactive elements. She performed various rituals in the company of other women, such asCeremonia de amor a la diosa Gaia(Love Ceremony to the Goddess Gaia), held in 1994 as part of the exhibitionIndagaciones(Inquiries) at Sol del Ro gallery, andPuente de luz(Bridge of Light), a ritual carried out at the Kaminal Juy archaeological site in 1995. Margarita Rita Rica Dinamita. Some of the carvings incorporate military elements such as rifles and boots, as a metaphor of the bloody years of the counterinsurgency war in Guatemala. (The exception is Rafael Tufio, who was born in New York, but his inclusion was an attempt at signaling how Puerto Rico and its diaspora is often positioned outside of both Latin America and the United States.) Her colorful and vibrant compositions are the result of an abstraction process based on guatemalan mayan huipiles, from weaving to painting. One of Kahlos last paintings prior to her untimely death in 1954 is titled Marxism Will Give Health to the Sick (1954), in which she depicted her own body donning one of her iconic long skirts and a leather corset. In 1982, she was a founder of the group Laboratory of Creativity (Laboratorio de Creatividad) that experimented with performance art in public spaces, theater cafes, art galleries, and museums. In Downtown Los Angeles, Siqueiros painted Amrica Tropical (1932), which was almost immediately painted over due to its controversial subject matter: a crucified indigenous man beneath an American eagle. Azurdia"s work reflects her feminist and anti-establishment views. In the early to mid-1960s, Santa Cruz traveled to Paris and studied theater and choreography at the Universit du Thtre des Nations and cole Suprieur des tudes Chorgraphiques. David Alfaro Siqueiros was one of the three great Mexican muralist painters of the early 20th century. After its disbandment in 1985, Azurdia continued to explore the paradigm between art and spirit, conducting workshops and exploring in greater depth ideas of care and healing linked to nature and the environment, drifts that would also be reflected in her mature paintings, packed full of disconcerting and spontaneous lines reflecting the regrowth of feelings and memories marking her personal history. In 1969, she received an honourable mention at the X Bienal de So Paulo for the series Asta 104, consisting of five large sculptural paintings entitled tomo (Atom), Ttem (Totem), Trptico (Triptych), Lotus, and Personna. In the 1960s, she developed her series of Proposies (Propositions)open-ended, experimental works that relied on public interaction. Margarita Azurdia next to a sculpture from her series Minimalist. In the 1960s, following her studies at the Escuela de Bellas Artes, Universidad de Chile, Donoso became involved with a group of mural painters supporting Salvador Allende from the Socialist Party, who became president in 1970. The paintings from the series Geometric Abstractions are a clear reference to the way in which Azurdia approached life and art, with honesty and sensitivity, with an infinite curiosity and a profound connection to Guatemala. This exhibition surveys her career by way of an extensive body of work that includes painting, sculpture, and non-object art, as well as artists books made from drawings, collages, and poems. After its disbandment in 1985, Azurdia continued to explore the paradigm between art and spirit, conducting workshops and exploring in greater depth ideas of care and healing linked to nature and the environment, drifts that would also be reflected in her mature paintings, packed full of disconcerting and spontaneous lines reflecting the regrowth of feelings and memories marking her personal history. Cart. Azurdias art often reflected the Guatemalan culture, was critically acclaimed, and is in museums and private collections throughout the world. Established in New York in 1977, the institute had become a countercultural hub for the study of Buddhism and philosophies that foster mind-body connections, contributing to spreading a new global spirituality. Tufio served in World War II, which granted him the GI Bill, funding his studies at Escuela Nacional de Artes Plsticas in Mexico City, where he studied printmaking and mural techniques. -Pierre Teilhard de Chardin, The Phenomenon of Man. Azurdia"s work reflects her feminist and anti-establishment views. The strength of Capellns work was in addressing the sociopolitical histories of the Caribbean, as well as the burgeoning environmental urgencies of global climate change. In Diccionario de imgenes (Dictionary of Images, 1979), Margarita Azurdia brought together crayon and watercolour drawingsincluding some inspired by medieval artto create an inventory of images, descriptions, and phrases, as a kind of idea bank for future works. It feels as though the important contributions of artists from Latin America are siphoned into an outdated silo of specialized knowledge. 38-39, were utilized as reference. Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. At the Third Coltejer Art Biennial (1972), her series of mobile marble sculptures stood out for being subject to spectators impulses. Taking a retrospective approach, the exhibition offers an insight into Guatemalas modern and contemporary art landscape and invites us to explore Margarita Azurdias creative metamorphosis, as reflected in the many names under which she produced her works. Courtesy of Milagro de Amor, legacy of the artist. Her work is on show at the National Museum of Modern Art in Guatemala. In the 1980s, Tunga created sculptural works and installations that visually mimic human hairstraightened hair strands caught in combs, as well as long, winding braids made from materials like from copper, lead, and brass. Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 - Margarita Rita Rica Dinamita is the first monographic exhibition in Europe dedicated to Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998). Informacin y programacin de exposiciones, coleccin, actividades y proyectos de For instance, at the Second Coltejer Art Biennial in 1970, held in Medelln, the artist left behind her predominantly pictorial work and adhered more to the spirit of the times with the installation Por favor quitarse los zapatos (Please Take Off Your Shoes), created specifically for the event, whereby she invited viewers to delve into a place of sensorial experimentation through performative and interactive elements. Olga's things: writing, reading, reviews, stories, life, Smile! In 1974, she moved to Paris, the epicentre of a veritable revolution of ideas, where she became involved in women artists circles and was encouraged to trace a watershed in her own conceptions as a woman and artist. It was in the late 1950s that Soto became involved with the artist group Zero, embracing ideas of mechanization and industrialization. [2] In the 1960s, Azurdia publicly opposed neofigurativism (neofigurativismo), an art movement promoted by a group of male artists known as Grupo Vertebra, and was responsible for starting a new art movement known as new conceptual abstraction (nuevo abstraccionismo conceptual)[2], In 1962 Azurdia exhibited her first painting, a self-portrait. Margarita Azurdia was a Postwar & Contemporary artist who was born in 1931. These altars modified with her own drawings as well as photographs, posters, musical instruments and pottery from her rituals and dances, arranged around a deity, are the best compilation of her explorations: an artistic and personal evolution that allowed her to understand the flow of life. WebAzurdia also participated in the biennials of So Paulo and Medellin. This project seeks to extend and disseminate the information available on Margarita Azurdia, as well as the access to art and Guatemalas cultural heritage in general. Clemencia Lucena is known for two distinct bodies of work: her feminist parodies of women in beauty pageants and other gendered rituals, and her overtly Marxist representational paintings illustrating class struggle. Group Exhibitions. In the late 1960s and early 1970s, Azurdia achieved some international renown. It was during this early period that Mendieta began to use her own body through performance. Get the best price for your artwork or collection. Mey Rahola. In the 1990s, Capelln exhibited widely, and continued working until his death in 2017. Calle Santa Isabel, 52 28012 Madrid Tamayos works during his time in New York are marked by a dream-like Surrealist quality, often incorporating human figures, fruits, or animals in vividly saturated canvases. In the late 1960s and early 1970s, Azurdia achieved some international renown. Influential is a difficult term. -Pierre Teilhard de Chardin, The Phenomenon of Man Established in New York in 1977, the institute had become a countercultural hub for the study of Buddhism and philosophies that foster mind-body connections, contributing to spreading a new global spirituality. (Phrase selected by Margarita Azurdia -then known as Margot Fanjul- written by the great French philosopher, to be used as an exergue for her exhibition of geometric paintings at the DS Gallery in Guatemala in 1968.) Around that time, the internal armed conflict in Guatemala established Cold War dynamics that gradually began to restrict freedom of expression and fuel the repression of dissidents and intellectuals. Many of Lucenas works from this period can be read as political propaganda, encouraging social action in farmworkers and other members of the working class. He was also selected as one of the artist member of100 Painters of Tomorrowby Beers Contemporary and Thames & Hudson in 2014. In 1955, he participated in the exhibition Le Mouvement at Galerie Denise Ren in Paris, which spurred the development of kinetic art globally. Calle De Santa Isabel 52, 28012 Madrid, Madrid, Spain, Your email address will not be published. The exhibition Margarita Azurdia. Margarita Azurdia was a Postwar & Contemporary artist who was born in 1931. These include important figures like Luz Donoso, Feliciano Centurin, and Clemencia Lucena. He developed an interest in the ideals and convictions of Marxism. Tony Capelln investigated themes of environmental destruction, socioeconomic scarcity, legacies of colonialism, and diaspora in his work. She was a multifaceted Margarita Azurdia. Back in Guatemala in 1963, her experiences in California prompted her to hold her first exhibitions. At the III Bienal de Arte Coltejer, her series of mobile marble sculptures were notable for being subject to the impulses that spectators brought to the works. 2018. Akin to other Latin American artists working at that time, and in line with formal and conceptual concerns internationally, Azurdias interests turned to actively integrating the public into her works. His family was exiled to a town on the border of Paraguay and Argentina. [1][3] The sculptures were carved by local artisans to her specifications,[2] and incorporated ornamental figuresplaster skulls, masks, feathers, pedestal tablesthat Azurdia collected from local artisans' stalls. 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