Olga de Amaral by Agnès Monplaisir

OLGA DE AMARAL

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MONTAÑA 38 | 2014 P. 86

OLGA DE AMARAL PRESENTATION

MATTHEW DRUTT Independent curator

Olga de Amaral is one of Colombia’s great living cultural treasures. After receiving a degree in Architectural Design from the Colegio Mayor de Cundinamarca in Bogotá in 1952, she left for the United States to study textiles at the famed Cranbrook Academy of Art in Michigan. Thus began a career that has propelled her over the course of the last 60 years into one of the most internationally renowned artists living and working in Bogotá. Her works are owned by major museums throughout Europe, North, and South America, and also reside in distinguished corporate and private collections. Her art deftly bridges myriad craft traditions concerned with process and materiality with fine art principles of formalism, abstraction, and metaphysicality. She has steadily has developed a distinct voice in her field through her command of conventional techniques for constructing textile objects while progressively pushing the boundaries of orthodox understandings of how textiles work as objects in space. She has gradually moved fabric-based works beyond the basic category of woven tapestry —one that privileges flatness, adherence to the wall, pictorialism and an obsession with the organic and physical properties of materials— into a more conceptual practice that embraces strategies otherwise found in painting, sculpture, and architecture. She employs a range of materials, from silver and gold leaf to brightly colored pigments, all of which refer to the landscape and cultural history of Colombia, which are then painstakingly incorporated into the fabric structures of her works over months of repeated hand application. The resulting objects are hefty in girth, but they cast an impression that is simultaneously intimate and monumental, a phenomenon that is not necessarily a function of scale. Her smaller wall hangings can exude an energy that exceeds their size simply

through her dynamic manipula- tion of weaving patterns and use of color. Sometimes bright, colorful, reflective and biomorphic, while at other times muted, dark, absorptive and geometric, these works exhibit the same capacity for creating the perception of infinite space found in the works of Modernist painters of the last century, from Kandinsky and Malevich to Reinhardt and Rothko. Likewise, her larger scale pieces, both the totemic works and the panels displayed in an array in space, have the capacity to feel intimate despite their size. Amaral achieves this through a delicacy of execution that softens the otherwise imposing presence of these pieces, and also forges a relationship with the scale of the viewer through an understanding of how both art and the body function in space. Amaralâ&#x20AC;&#x2122;s works feel at once primitive and contemporary; they refer to indigenous traditions found in centuries-old civilizations, but their execution and presentation conform to concerns found in our own time. They can appear ethereal and illusory, while others seem almost petrified by age. It is this duality that lends her work a timeless quality; her art is anthropological, exploring ideas found in the way we understand history expressed in objects and in the way in which we perceive form, color, and material in the world around us. This publication presents an exemplary selection of works from the last decade and a half that testify to Amaralâ&#x20AC;&#x2122;s accomplishments in the course of her distinguished career. |

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FR | PRESENTATION Matthew Drutt Commissaire indépendant

Le travail de Olga de Amaral occupe une place majeure dans l’art contemporain, entretenant de subtiles connexions entre des myriades de traditions artisanales axées sur le processus et la matérialité d’une part, des principes inhérents aux beaux-arts d’autre part, tels le formalisme, l’abstraction et la métaphysique. Depuis plus de soixante ans, ses œuvres témoignent de sa parfaite maîtrise des techniques traditionnelles pour construire des objets textiles, tout en repoussant progressivement les limites de l’orthodoxie quant à la manière dont les textiles fonctionnent comme objets dans l’espace. L’artiste a peu à peu fait sortir les œuvres textiles de la catégorie des tapisseries tissées —définies par les surfaces planes, l’adhérence aux murs, les motifs picturaux et l’importance accordée aux propriétés organiques et physiques des matériaux— pour privilégier une pratique conceptuelle qui embrasse des stratégies empruntées à la peinture, à la sculpture et à l’architecture. Avec ce catalogue, nous sommes heureux de présenter une sélection d’œuvres réalisées au cours des quinze dernières années, qui mettent brillamment en lumière la singularité du travail de Olga de Amaral. Si ses créations monumentales ne sont pas dénuées d’une dimension intime, ses petites tentures murales dénotent une surprenante dynamique due au talent exceptionnel de l’artiste à juxtaposer les motifs et à jouer avec les couleurs. Tantôt claires, vivement colorées, biomorphiques et réfléchissant la lumière, tantôt sombres, traitées dans des tons assourdis, géométri- ques et absorbant la lumière, ces œuvres ont la même capacité à créer l’illusion d’un espace infini que celles des peintres modernistes du siècle dernier, de Kandinsky et Malevitch à Reinhardt et Rothko. Les grandes pièces, tels les œuvres totémiques ou les panneaux disposés en rang dans l’espace, dégagent une impression d’intimité malgré leur taille. Olga de Amaral réalise ces prouesses grâce à une délicatesse d’exécution qui compense l’imposante présence des œuvres. Elle établit également une relation avec l’observateur par sa connaissance avisée de la manière dont l’art et le corps fonctionnent dans l’espace. Les créations de Olga de Amaral relèvent autant de l’art primitif que de l’art contemporain. Elles renvoient à des traditions indigènes séculaires, tandis que leur exécution et leur présentation s’inscrivent dans les préoccupations de notre temps. Parfois aériennes et irréelles, certaines donnent l’impression d’être pétrifiées par le temps. Et c’est cette dualité même qui confère au travail de l’artiste son caractère intemporel. Cet art d’essence anthropologique explore des concepts relatifs à notre appréhension de l’histoire à travers les objets et à notre perception des formes, des couleurs et des matériaux dans l’univers qui nous entoure. Cette publication présentant une soixantaine d’objets et d’installations se veut une simple porte d’entrée dans l’univers complexe que Olga de Amaral a élaboré à travers son travail au cours des soixante dernières années. Elle atteste néanmoins le génie incontesté de l’artiste, qui lui vaut une place de choix sur la scène internationale. | 7

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BR | PRESENTAÇÃO Matthew Drutt Curador independente

O trabalho de Olga de Amaral ocupa uma posição proeminente na arte contemporânea, mantendo ligações subtis entre miríades de tradições artesanais centradas nos processos e materiais, por um lado, e os princípios inerentes das belas artes pelo outro, tais como o formalismo, o abstracto e o metafísico. Após mais de sessenta anos, as suas obras são testemunho da sua perfeita mestria das técnicas tradicionais para construir objectos têxteis, empurrando progressivamente os limites da ortodoxia quanto à forma com que os têxteis funcionam enquanto objectos no espaço. A artista, pouco a pouco criou obras têxteis da categoria das tapeçarias tecidas - definidas pelas superfícies planas, a aderência às paredes, os motivos pictóricos e a importância atribuída às propriedades orgânicas e físicas dos materiais - para privilegiar uma prática conceptual que abraça estratégias emprestadas da pintura, da escultura e da arquitectura. Enquanto as suas criações monumentais não são despidas de uma dimensão íntima, as suas pequenas tapeçarias murais denotam uma surpreendente dinâmica devido ao talento excepcional da artista ao justapôr os motivos e jogar com as cores, por vezes claras, vivamente coloridas, biomórficas e reflectindo a luz, outras vezes sombras, tratadas em tons surdos, geométricos e absorvendo a luz, estas obras têm a mesma capacidade de criar a ilusão de um espaço infinito que as pinturas modernistas do último século, de Kandinsky e Malevitch a Reinhardt e Rothko. As grandes peças, tais como as obras totémicas ou os painéis dispostos em sequência no espaço, emitem uma impressão de intimidade não obstante o seu tamanho. Olga de Amaral alcança estes feitos graças a uma delicadeza de execução que compensa a presença imponente das suas obras. Ele estabelece igualmente uma relação com o observador pelo seu conhecimento informado da forma em que a arte e o corpo funcionam no espaço. As criações de Olga de Amaral revelam tanto a arte primitiva quanto a arte contemporânea. Elas remetem às tradições indígenas seculares, enquanto que a sua execução e a sua apresentação se inscrevem nas preocupações dos nossos tempos. Por vezes aéreas e irreais, algumas dão a impressão de estarem petrificadas pelo tempo. E mesmo esta dualidade que confere ao trabalho da artista o seu carácter intemporal. Esta arte de essência antropológica explora os conceitos relativos à nossa concepção da história através dos objectos e a nossa percepção das formas, das cores e dos materiais no universo que nos rodeia. |

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STRATA AQUA I | NUDO PLATA 9 | ESCRITO X SP-ARTE 2014

OLGA DE AMARAL COINCIDÊNCIA FÍSICA 1

GUILHERME BUENO Crítico e historiador da Arte Professor do Instituo de Artes e da Escola de Artes Visuais, Rio de Janeiro, Brasil

A escolha pelo tear desde o início da carreira de Olga, conforme nos dizem seus dados biográficos, apontam —ainda que metaforicamente— para o veio moderno sobre o qual se assentaria sua obra: se o tear é uma das técnicas mais ancestrais da humanidade, por outro, ele está no centro da Revolução Industrial; em outras palavras, sua arte busca se relacionar com seu tempo (e por conta disso, o tear também deve ser entendido como uma alternativa à pintura em seu sentido mais tradicional) sem renunciar a um contato único e não mecanizado, em suma, a artista ainda quer manusear a cor e agir no nascimento da forma. Tratase, nesse sentido, de conjugar um viés bauhasiano que perpassa sua formação nos Estados Unidos com o fascínio e o auto-reconhecimento de um legado vivo que se lhe encontra próximo, na Colômbia; a monumentalidade industrial se entrelaça a uma individualidade manual e única. Isto tudo transcorre, porém, num processo guiado pela intuição, suas descobertas se fazem simultaneamente às investigações e possibilidades descobertas junto a linguagem escolhida pela artista (o tear), assunto a que voltaremos adiante. Ainda pensando acerca de sua trajetória e seu lugar na história da arte, convém ressaltar dois pontos: o primeiro é o fato de Olga ter vivenciado a experiência da modernidade em sua plenitude. Na prática, significa enfatizar que ela já começa como uma artista abstrata, não passa pelo usual ritual de iniciação de executar a passagem do figurativo ao abstrato, como muitas vezes se exigia de outras gerações ou grupos. Mas seu ingresso na abstração não é dogmático nem preestabelecido por um programa, com aconteceria com alguns de seus pares na América Latina, permitindo-lhe, portanto, que pense a geometria muito mais de um viés orgânico e de construção progressiva da forma (oriunda da articulação da trama dos fios) do que de uma estrutura “aplicada”. Isto, inclusive, nos faz

Notas da palestra de 5 de abril de 2014 na SP-Arte, São Paulo.

pensar sobre a autonomia que suas obras reivindicam, pois a tecelagem não é mais tomada como um suporte que transpôs para si uma pintura (como acontecia com as antigas tapeçarias feitas a partir de cartelas), ao mesmo tempo em que explora o lugar da pintura, seja ocupando um plano paralelo ao da parede, seja fazendo-o saltar rumo ao espaço. Tais aspectos nos levam ao segundo ponto: Olga é uma artista que pertence tanto a arte moderna quanto a contemporânea. Dois críticos próximos a artista, o francês Pascal Bonafoux e o norte-americano Twylene Moyer perceberam isso acuradamente ao indicarem o quanto suas obras buscam uma presença e uma escala monumental (comparada, eventualmente, com o mesmo desafio enfrentado pelos expressionistas abstratos nos anos 1950) levavam-nas a se caracterizarem como superfícies (Bonafoux), justamente por conta delas enunciarem questões próprias que não mereceriam ser reduzidas apenas a enquadramentos como pintura ou escultura. Juntando-se tal perspectiva com a de Moyer, que ao comparara abordagem de Olga com a linguagem e a necessidade de invenção verbal e descritiva que tudo que é novo exige, percebese que as questões contemporâneas da artista, surgem não como ruptura, mas sim aprofundamento de algumas de suas questões modernas. Em outras palavras, trata-se do deslocamento do tear do âmbito da arte utilitária para a plenitude visual das artes plásticas, incorporando-o como um novo suporte e linguagem para aquela última. Pensando por este viés, o que mais constitui tal aprofundamento moderno (que retoma algo sugerido nas últimas linhas de meu primeiro tópico)? Creio que o tear permite Olga encontrar sua solução para um dilema que absorveu vários artistas: as relações entre linha e forma, desenho e cor. “Desenhar com a cor”, ou seja, fazer com que a forma não nascesse como mero preenchimento com cor de uma área de antemão definida pelo desenho (considerando, do ponto de vista espacial também as implicações na articulação ou supressão de uma estrutura estática e segmentada figura / fundo) obsedara artistas como Matisse e Mondrian. Em Olga o fio é a própria linha e cor a um só tempo materializadas, a cor, além de ter um corpo próprio, também e indiscernível do suporte ( a cor não é algo aplicado sobre o suporte; é ele mesmo). Esta coincidência física, que faz com que a linha não seja mais um conceito geométrico imaginário, mas algo tátil, presente conferem um outro aspecto aquilo que acima mencionamos como uma geometria orgânica. Por conta disso, ínsito na precisão de Bonafoux ao discretamente falar dos trabalhos da artista como superfícies, naquilo em que eles dão um passo além em relação às linguagens constituídas e —citando novamente Moyer— necessitam de uma invenção poética para descrevê-los.

Esse cinetismo orgânica se revela a todo instante em suas obras: a forma emerge de uma luminosidade que paradoxalmente reside na própria superfície (em razão do que chamei de coincidência entre suporte e forma), o que, em casos recentes, como as peças criadas desde o final dos anos 1980. Nelas notam-se duas características: uma, que insiste numa evidenciação de sua constituição física — os fios pendem, e, uma vez que a peça não é pregada em todas as suas partes num chassis, o seu peso, sua inscrição no real não é “neutralizado”. Do ponto de vista cromático, o dourado representa o desafio de lidar com uma cor que, para além de sua “luminosidade integral”, trata-se, por consequência, de uma cor que “não produz sombra”. Que espaço é este que é só luz? Que luzes são estas, por outro lado, que ora atingem sua vibração mais intensa (como nos dourados), ora optam por uma profundidade silenciosa e recôndita —mas nem por isso menos tocante e plena— como aquelas expostas na Louise Blouin Foundation (Londres, 2013)? |

ESCRITO X | BOSQUE I Y II SP-ARTE 2014

FR | RENCONTRE PHYSIQUE 1 Guilherme Bueno Critique et historien d’art |Professeur à l’Institut des Arts et à l’École des arts visuels, Rio de Janeiro, Brésil

Si l’on en croit la biographie d’Olga, son choix, depuis le début de sa carrière, du métier à tisser, est métaphoriquement fondé sur un élément moderne : car si le métier à tisser est l’une des techniques les plus anciennes de l’humanité il est également au cœur de la révolution industrielle. En d’autres termes, son art est le reflet de son époque et, de ce fait, le métier à tisser doit également être considéré comme une alternative à la peinture dans son sens traditionnel, sans renoncer au contact unique et non mécanisé. Bref, l’artiste persiste à vouloir gérer la couleur et à faire naître la forme. Il s’agit, dans ce sens, d’associer la trajectoire Bauhaus sur laquelle est bâtie sa formation au États-Unis, à sa fascination pour la découverte de l’héritage vivant alentour, en Colombie ; la monumentalité industrielle se mêle à une individualité manuelle unique. Mais tout cela dans un processus guidé par l’intuition. Ses découvertes s’effectuent simultanément aux enquêtes et aux possibilités de découvertes du langage choisi par l’artiste, le métier à tisser, sur lequel nous reviendrons plus tard. Concernant à nouveau le parcours d’Olga et sa situation dans l’histoire de l’art, deux observations s’imposent. À noter, premièrement, qu’Olga a pleinement vécu l’expérience de la modernité car elle a débuté sa carrière en tant qu’artiste abstrait sans suivre la voie initiatique rituelle du passage de l’art figuratif à l’art abstrait à l’instar de ce que l’on exige souvent d’autres génération ou groupes. Le choix d’Olga pour l’art abstrait n’est ni dogmatique ni inscrit dans un programme préétabli tel que celui suivi par certains de ses pairs latino-américains ; ce qui lui permet de considérer la géométrie davantage comme une trajectoire organique et de construction progressive de la forme fondée sur l’association de la trame des fils que comme une structure « appliquée ». D’où l’autonomie revendiquée par ses œuvres dans la mesure où le tissage ne constitue pas le support d’une peinture, tel que dans les anciennes tapisseries manufacturées à partir de cartouches, ainsi que l’exploitation du lieu de la peinture par l’occupation d’un plan parallèle à celui du mur et son positionnement dans l’espace. Deuxièmement, Olga est une artiste moderne aussi bien que contemporaine. Cela a été bien perçu par deux critiques proches de l’artiste : le Français Pascal Bonafoux et le nord-américain Twylene Moyer, lesquels font remarquer à quel point les œuvres d’Olga sont une recherche d’une présence et d’une stature monumentale (comparable au défi auquel se sont heurtés les expressionnistes abstraits des années 1950) ; d’où leur opinion selon laquelle ses œuvres seraient superficielles (Bonafoux). À cet égard, ils posent des questions qui ne relèvent pas uniquement de la peinture ou de la sculpture. Cette approche doit être associée à celle de Moyer, lequel la compare à celle d’Olga fondée sur le langage

Notes sur la conférence donnée le 5 avril 2014 à la SP-Arte, São Paulo.

et le besoin d’une invention verbale et descriptive exigée par le renouveau. Les questions contemporaines de l’artiste ne sont pas perçues comme une rupture mais comme un approfondissement des questions modernes. Il s’agit donc d’une mutation du métier à tisser de l’art utilitaire vers la plénitude visuelle des arts plastiques par son incorporation dans un nouveau support et un langage approprié. Quant à la question de savoir si cette approche permet d’établir l’élément le plus caractéristique de cet approfondissement moderne, reprise dans les dernières lignes de mon premier sujet, je pense que le métier à tisser permet à Olga de résoudre un dilemme auquel ont été confrontés divers artistes : les relations entre la ligne et la forme ainsi qu’entre le dessin et la couleur. « Dessiner avec la couleur » de manière à ce que la forme ne résulte pas d’un simple remplissage d’une surface par des couleurs préalablement délimitée par le dessin, en tenant compte également, sur le plan spatial, de l’association ou de la suppression d’une structure statique et d’une figure segmentée/d’un fond, constituera l’obsession d’artistes tels que Matisse et Mondrian. Chez Olga, le fil constitue la ligne et la couleur matérialisées d’un seul temps. La couleur a un corps propre, également indiscernable par rapport au support. La couleur n’est pas un élément appliqué sur un support mais le support lui-même. Cette rencontre physique qui permet de transformer la ligne d’un concept géométrique imaginaire en un élément tangible et présent a pour effet de conférer un autre aspect à ce que nous avons qualifié de géométrie organique. Elle est donc inhérente au discours discret de Bonafoux qui considère les œuvres de l’artiste comme étant superficielles du fait qu’elles dépassent les langages constituées, et, pour citer à nouveau Moyer, nécessitent une invention poétique pour les décrire. Ce cinétisme organique se révèle à tout moment dans ses œuvres : la forme émerge d’une luminosité paradoxalement ancrée dans la surface proprement dite suite à ce que j’ai défini comme étant la rencontre entre le support et la forme, comme dans des cas récents, telles que les pièces créées depuis la fin des années 1980, lesquelles se caractérisent de deux manières : une qui met l’accent sur leur constitution physique, les fils qui pendent ; l’autre sur leur poids, les parties de la pièce n’étant pas attachées à un châssis ; leur inscription dans le réel n’est pas « neutralisé ». Sur le plan chromatique, le doré représente le défi qui consiste à travailler avec une couleur qui, au-delà de sa « luminosité intégrale », constitue, de ce fait, une couleur qui « ne produit pas d’ombre ». Qu’est-ce que cet espace qui n’est constitué que de lumière ? Que sont, d’autre part, ces lumières qui atteignent leur vibration la plus intense (telles que les lumières dorées) ou qui choisissent une profondeur silencieuse isolée mais pourtant pas moins touchante et pleine, telles que celles exposées à la Fondation Louise Blouin (Londres, 2013) ? |

STRATA XIV | IMAGEN PERDIDA 25 | ALQUIMIA 002 | NUDO X ART RIO 2014

BRUMAS (INSTALLATION) LOUISE BLOUIN FOUNDATION, 2013

EN | PHYSICAL COINCIDENCE 1 Guilherme Bueno Critic and Art historian | Professor at the Arts Institute and at the Visual Arts School, Rio de Janeiro, Brazil

The choice of the loom from the beginning of Olga’s career, as her biographical data tell us, points to —albeit metaphorically— the modern spindle on which her work would set: if the loom is one of humanity’s most ancient techniques, it is, on the other hand, in the center of the Industrial Revolution; in other words, her art seeks to relate to her time (and because of that, the loom should also be understood as an alternative to painting in its most traditional sense) without renouncing a unique and non-mechanical contact; in short, the artist still wants to work with the color and be part of the form’s creation. It is, therefore, the conjugation of a bauhasian bias that pervades her training in the United States with the fascination and self-recognition of a living legacy, in Colombia; the industrial monumentality intertwines with a manual and unique individuality. This all takes place, however, in a process guided by intuition; her discoveries are made at the same time as the probing and the possibilities discovered with the language chosen by the artist (the loom), a subject to which we will return ahead. Still considering her path and place in art history, it is important to emphasize two points: the first is Olga having lived the experience of modernism in its fullness. In essence, this emphasizes that she starts off as an abstract artist, and does not go through the usual initiation ritual of transitioning from figurative to abstract, as is often required of other generations or groups. But her passage into abstraction is neither dogmatic nor predetermined by a program, as was the case with some of her Latin American peers, allowing her, therefore, to think that geometry is much more an organic bias and a progressive structure of the form (from the articulation of the weft yarns) rather than an “applied” structure. This also makes us think about the autonomy that her works claim, as weaving is no longer seen as a support which transposed into a painting (as with the old tapestries from cartouches), while exploring the role of painting, either as occupying a smooth surface parallel to the wall, or making it jump into space. These aspects take us to the second point: Olga is an artist who belongs both to modern and contemporary art. Two critics close to the artist, the French critic Pascal Bonafoux and the North American critic Twylene Moyer, understood it accurately when they showed how her work seeks a monumental presence and scale (compared eventually to the same challenge faced by the abstract expressionists in the 1950s), being characterized as surfaces (Bonafoux), precisely because they enunciated issues that did not deserve to be reduced only to frameworks such as paintings or sculptures. Together with Moyer’s perspective, who had compared Olga’s approach to language and the need for the verbal and descriptive invention that everything new requires, we understand that the artist’s contemporary issues arise not as a rupture, but as a deepening of some of her modern issues. In other words, it is related to the displacement of the loom under utilitarian art towards the visual fullness of plastic arts, incorporating it as a new support and language for plastic arts. 1

Notes on the lecture given on April 5th 2014 in SP-Arte, São Paulo.

Thinking through this bias, what else makes up this modern deepening (which takes us back to something suggested in the last lines of my first topic)? I think the loom allows Olga to find a solution to a dilemma that has absorbed various artists: the relationships between line and shape, pattern and color. “Drawing with color”, i.e., making the form not be a mere colored filling of an area defined beforehand by the drawing (from the spatial point of view also considering the implications in the articulation or suppression of a static structure and segmented figure / background) obsessing artists like Matisse and Mondrian. In Olga, the thread is the line itself and the color, materialized at once; color, besides having its own body, is also indiscernible from the support (the color is not something applied to the support, it is the support). This physical coincidence which causes the line is no longer an imaginary geometrical concept, but something tactile, conferring a further aspect of what was mentioned above as an organic geometry. As such, embedded in the accuracy of Bonafoux when discreetly mentioning the work of the artist as surfaces, we go a step further in relation to incorporated languages and —re-cite Moyer— the need for a poetic invention to describe them. The organic kinetics is revealed at every moment in her work: the shape emerges from a luminosity that paradoxically lies on the surface itself (reason why I spoke of the coincidence between support and form), which, in recent cases, such as pieces created since the late 1980s. In them we can see two characteristics: one, which insists on disclosure of its physical constitution - the threads hang down, and as the piece is not all pinned to a chassis, its weight, its application to reality is not “neutralized”. In the chromatic point of view, gold is the challenge of dealing with a color that, in addition to its “full brightness”, is, consequently, a color that “does not produce shadow.” What is this space that is only light? What are these lights, on the other hand, that either reach the most intense of vibrations (as with the gold), or opt for a quiet, secluded depth —but no less moving and full— like those shown in the Louise Blouin Foundation (London, 2013)? |

PUEBLO V | NUDO X LOUISE BLOUIN FOUNDATION, 2013

BRUMAS (INSTALLATION) LOUISE BLOUIN FOUNDATION, 2013

ESTELAS (INSTALLATION) GALERIE AGNÈS MONPLAISIR, 2014

OLGA DE AMARAL GOLD RUSH 1

HEATHER CORCORAN

Artist Olga de Amaral creates multimedia fiber works that are neither canvases nor tapestries. They look like artifacts from an ancient age, but steeped in the modern tradition of abstraction. Instead, these unclassifiable pieces are a personal expression made of fibers and tissue embellished with paint, gesso and precious metals —woven works that explore the history and culture of her native Colombia, as well as South America’s material wealth and the various implications that come with it. In one of her latest exhibitions, El Dorado Thread, the artist’s compositions hang from the walls like precious tapestries, textiles or even armor from an unknown time and place. But while her works have a timeless quality that begs the viewer to contemplate their origins, there are in fact no precedents for what she has created in the history of pre-Columbian art. De Amaral studied fabric art at the Cranbrook Academy of Art in Michigan, and her works push the boundaries of textiles to the very limit. Her elaborate technique blurs the lines between art, craft and design, and tradition and innovation, as she transforms the two-dimensional into three through her highly personal alchemical process. In some of her works, the geometric surfaces are a pattern play of positive and negative space —as in Lienzo B (2014), a piece with a black rectangle on a gold ground and its companion that reverses the color relationship. Here, de Amaral has said, gold evokes the feeling of the sacred. Along with these fluid works clad in gold leaf, the artist uses a rich palette of deep pure colours —like blue, in the aptly-named work Luna azul,(1996), which calls to mind a setting sun or moon against the night sky— or thick white acrylic, as in the work Montaña 30 (2012). “I like painting the thread instead of dyeing it because it is a much more controlled and intimate process,” de Amaral has said of her work, which she has also likened to “painting in space.” | 1

Article first published on Artsy.com on October 27th 2014.

FR | RUÉE VERS L’OR 1 Heather Corcoran

L’artiste Olga de Amaral crée des œuvres en fibres multi-supports qui ne sont ni des toiles ni des tapisseries. Elles ressemblent à des artéfacts venus de temps immémoriaux, mais riches d’une tradition moderne de l’abstraction. En fait, ces créations inclassables sont une expression personnelle faite de fibres et de tissu embellis de peinture, de gesso et de métaux précieux. Des œuvres tissées qui explorent l’histoire et la culture de sa Colombie natale, ainsi que la richesse matérielle de l’Amérique du sud et les diverses implications qui y sont associées. Dans une de ses dernières expositions, El Dorado Thread (Le fil d’or), les compositions de l’artiste sont accrochées aux murs comme des tapisseries précieuses, des étoffes ou même des armures de temps et de lieux inconnus. Mais tandis que ses œuvres ont une qualité intemporelle qui incite le spectateur à en contempler l’origine, il n’existe en fait, dans l’histoire de l’art précolombien, aucun précédent pour ce qu’elle a créé. Olga De Amaral a étudié l’art des étoffes à l’Académie des Arts Cranbrook au Michigan et ses œuvres repoussent les frontières des textiles jusqu’à l’extrême limite. Sa technique élaborée gomme les lignes entre l’art, l’artisanat, la création, la tradition et l’innovation, tandis qu’elle transforme le monde bidimensionnel en un univers en trois dimensions par un processus alchimique qui lui est tout à fait personnel. Dans certaines de ses œuvres, les surfaces géométriques sont un montage d’espaces positifs et négatifs, comme dans Lienzo B (2014), une œuvre composée d’un rectangle noir sur un fond d’or et son double qui inverse la relation des couleurs. Ici, dit Olga de Amaral, l’or évoque le sentiment du sacré. Avec ces œuvres fluides vêtues de feuilles d’or, l’artiste utilise une riche palette de couleurs profondes et pures, comme le bleu, dans l’œuvre bien nommée, Luna azul (1996), qui fait penser à un coucher de soleil ou à une lune dans le ciel nocturne ; ou un dense blanc acrylique, comme dans l’œuvre Montaña 30 (2012). « J’aime peindre le fil plutôt que de le teindre parce que c’est une procédure beaucoup plus contrôlée et plus intime » dit Olga de Amaral de son travail, qu’elle a également comparé à une « peinture spatiale ». |

Article paru sur Artsy.com le 27 octobre 2014.

BR | A FEBRE DO OURO 1 Heather Corcoran

A artista Olga de Amaral cria obras em fibra multimédia que nem são telas nem tapeçarias. Parecem-se com artefactos antigos, mas embebidas na tradição moderna do abstracto. Pelo contrário, estas peças inclassificáveis são uma expressão pessoal constituídas por fibras e tecido embelezadas com tinta, gesso e metais preciosos —obras tecidas que exploram a história e cultura do seu país natal, a Colômbia, bem como a riqueza material da América do Sul e as diversas implicações que daí advêm. Numa das suas últimas exposições, El Dorado Thread (O fio do El Dorado), as obras da artista foram suspensas nas paredes como tapeçarias preciosas, têxteis ou até armaduras provenientes de uma época e local desconhecidos. Mas apesar das suas obras possuírem uma qualidade intemporal que suplica ao espectador que contemple as suas origens, de facto não há precedentes para o que ela criou na história da arte pré-Colombiana. De Amaral estudou arte têxtil na Academia de Arte de Cranbrook no Michigan e as suas obras empurraram as fronteiras dos têxteis até ao limite. A sua técnica trabalhada desvanece os limites entre a arte, o artesanato e o design, e a tradição e inovação, ao transformar um plano de duas dimensões em três dimensões através do seu processo alquímico altamente pessoal. Em algumas das suas obras, as superfícies geométricas são uma brincadeira com padrões de espaços positivos e negativos —como em Lienzo B (2014), uma peça com um rectângulo preto num fundo dourado e o seu companheiro que inverte a relação entre as cores. Segundo de Amaral, neste caso o ouro invoca o sagrado. Além destas obras fluidas revestidas por folhas de ouro, a artista utiliza uma palete rica de cores puras e intensas —como o azul, na obra adequadamente denominada Luna azul, (1996), que faz recordar um pôr do sol ou a lua no céu nocturno— ou acrílico branco espesso, como na obra Montaña 30 (2012). “Eu gosto de pintar o fio, em vez de o tingir, porque é um processo muito mais controlado e íntimo,” afirmou de Amaral acerca do seu trabalho, o qual diz também assemelhar-se a “pintar no espaço.” |

Artigo publicado originalmente no Artsy.com o 27 de outubro de 2014

ESTELAS (INSTALLATION) GALERIE AGNÈS MONPLAISIR, 2014

PUEBLO J 2011

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 80 X 200 CM

PUEBLO V 2013 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 200 CM

PUEBLO X 2013

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 100 CM

PUEBLO P 2012

LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 80 X 200 CM

ENTRE RÍOS 7 2012

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 185 X 170 CM

MEDIA LUNA III 2014 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM, GOLD LEAF H 165 X 75 CM

NUDO X (ORO) 2011

LINEN, GESSO, ACRYLIC PAINT H 450 X 30 CM

BOSQUE (ÁRBOLES) INSTALLATION

ÁRBOL E 2013

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 210 X 40 CM

ÁRBOL J 2013 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 45 CM

DOS MITADES II 2011

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 70 X 70 CM

SOL ROJO DOBLE 2 2014

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 180 X 80 CM

SOL ROJO DOBLE 2013 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 155 X 100 CM

POZO AZUL 12 2013

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 100 X 100 CM

POZO AZUL 8 2012 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 100 X 75 CM

MOYAS INSTALLATION

MOYA E 2013 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 100 X 80 CM

MOYA C 2013 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 125 X 70 CM

MOYA A 2013 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 100 X 90 CM

MOYA D 2013 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 105 X 90 CM

MOYA F 2013

LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 85 X 105 CM

NEBULA 9 2015 JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 80 X 80 CM

NEBULA 1 2014

JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 80 X 80 CM

NEBULA 7 2015 JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 80 X 80 CM

NEBULA 8 2015

JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT H 80 X 80 CM

NEBULA 5 2015 JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 80 X 80 CM

NÚCLEO 1 2015

JAPANESE PAPER, LINEN, GESSO, ACRYLIC PAINT H 130 X 180 CM

NUDO XII (NEGRO) 2012 H 300 X 30 CM NUDO 16 (BRONCE) 2014 H 290 X 25 CM NUDO 19 (TURQUESA) 2014 H 300 X 25 CM

LINEN, GESSO, ACRYLIC PAINT

LIENZO CEREMONIAL 29 2001 LINEN, GESSO, ACRYLIC PAINT H 170 X 100 CM

LIENZO 32 2013

LINEN, GESSO, ACRYLIC PAINT H 195 X 100 CM

LUNA AZUL 1996 LINEN, GESSO, ACRYLIC PAINT H 185 X 100 CM

LIENZO B | LIENZO A 2014

LINEN, GESSO, ACRYLIC PAINT H 200 X 95 CM

LIENZO A DETAIL

CARMÍN 2013 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 140 X 140 CM

UMBRA ROJA 60A 2014

LINEN, GESSO, ACRYLIC PAINT H 200 X 100 CM

UMBRA AZUL 2015 LINEN, GESSO, ACRYLIC PAINT H 200 X 100 CM

UMBRA 51 2007

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 150 X 75 CM

UMBRA ORO 32 2003 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 100 CM

IMAGEN PERDIDA 25 1996

LINEN, GESSO, ACRYLIC PAINT, GOLD & SILVER LEAF H 175 X 70 CM

ROCA 2013

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 230 X 235 CM

ESCRITO X 2006 LINEN, GESSO, ACRYLIC PAINT, GOLD & SILVER LEAF H 235 X 155 CM

MONTAÑA 38 2014

LINEN, GESSO, ACRYLIC PAINT, PALLADIUM & GOLD LEAF H 100 X 120 CM

MONTAÑA 36 2015 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 100 CM

MONTAÑA 30 2012 LINEN, GESSO, ACRYLIC PAINT H 200 X 140 CM

ALQUIMIA 99 2007

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 200 X 200 CM

ALQUIMIA 002 2009

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 105 X 255 CM

ESTELAS INSTALLATION

ESTELA 35 2007

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 170 X 85 CM

ESTELA 35 2007 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 155 X 95 CM

ESTELAS DETAILS

BRUMAS INSTALLATION

100

101

BRUMA G | BRUMA F DETAIL

BRUMA G 2013

104

LINEN, GESSO, ACRYLIC PAINT H 190 X 90 CM

BRUMA F 2013 LINEN, GESSO, ACRYLIC PAINT H 190 X 90 CM

105

TABLA 15 1990

106

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 192 X 65 CM

MEMORIAS II 2010 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 110 X 170 CM

107

STRATA XIV 2009

108

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 140 X 140 CM

STRATA 18 2010 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 210 X 100 CM

109

LUZ STRATA 2007

110

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 150 X 40 CM

STRATA XII 2008 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 205 X 180 CM

111

STRATA XV 2009

112

LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 230 X 200 CM

STRATA AQUA I 2010 LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 240 X 150 CM

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AQUA IX 2011

114

LINEN, GESSO, ACRYLIC PAINT, PALLADIUM H 100 X 200 CM

115

MEMENTO 8 2013 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 160 X 200 CM

MEMENTO 6 2000 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 157 X 150 CM

117

SEGMENTO 8 1999

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LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 91 X 91 CM

RESONANCIA 2 2009 LINEN, GESSO, ACRYLIC PAINT, GOLD LEAF H 165 X 100 CM

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OLGA DE AMARAL

Olga de Amaral est née en 1932 à Bogota. À 22 ans, elle part étudier aux États-Unis et commence à s’intéresser au textile. Elle a été professeur et a donné des conférences dans plusieurs universités en Amérique, avant de rentrer en Colombie. Elle vit et travaille aujourd’hui à Bogota. Olga de Amaral est une artiste pleinement intégrée dans son pays d’origine. Elle a su puiser la matière première de son art en Colombie, carrefour de plusieurs civilisations. Cuirs, ors et argents de l’Eldorado historique sont à la source même de ses œuvres textiles. Innovante, elle a transformé l’art de la tapisserie figurative en deux dimensions en un art abstrait tridimensionnel. Ses œuvres, résultat d’un long travail d’orfèvre, scintillent de toutes les richesses tissées ; la lumière joue sur cette matière sculpturale qu’on voudrait pouvoir toucher. Ses œuvres font partie des collections des plus grands musées d’art contemporains du monde, le Museum of Modern Art à New York, le Musée d’Art Moderne de la ville de Paris ou encore le Musée National d’Art Moderne à Kyoto au Japon, entre autres.

Olga de Amaral was born on 1932 in Bogota, Colombia. At the age of 22, she moved to the United States to pursue her studies and her burgeoning passion for textiles. There, she served as both a lecturer and instructor at several universities across the U.S. before returning to Colombia. She now once again lives and works in Bogota. Olga de Amaral is a fully integrated artist in her country of origin. She has sourced much of the raw materials for her art from Colombia, a land that has been the crossroads of several civilizations. Leather, gold and silver from the historic El Dorado are delicately woven into her textile artworks. Through her ground-breaking installations, Olga has turned the art of two-dimensional figurative tapestry into a threedimensional, abstract genre of work. Her pieces, intricately designed and constructed as a master craftsmanship, sparkle with of all of their woven wealth. Light dances across the delicate patterns adorning each installation, enticing to the viewer to take a closer look. Olga’s work is exhibited in the collections of the largest contemporary art museums around the world, including the Museum of Modern Art in New York, the Musée d’Art Moderne in Paris, and the National Museum of Modern Art in Kyoto, Japan, among many others.

Olga de Amaral nasceu a 1932 em Bogotá. Aos 22 anos, ela partiu para estudar nos Estados Unidos e começa a interessar-se pelos têxteis. Foi professora e deu conferências em várias universidades na América, antes de voltar para a Colômbia. Hoje ela vive e trabalha em Bogotá. Olga de Amaral é uma artista totalmente integrada no seu país de origem. Ela soube basear a matéria central da sua arte na Colômbia, a encruzilhada de várias civilizações. Os couros, ouros e pratas do Eldorado histórico estão na fonte das suas obras têxteis. Inovadora, ela transformou a arte da tapeçaria figurativa em duas dimensões numa arte abstracta tridimensional. Nas suas obras, resultado de um longo trabalho de ourivesaria, cintilando com todas as riquezas tecidas, a luz joga sobre esta matéria escultural que dá vontade de tocar. As suas obras fazem parte das colecções dos maiores museus de arte contemporânea mundiais, o Museu de Arte Moderna de Nova Iorque, o Museu de Arte Moderna da Cidade de Paris ou ainda o Museu Nacional de Arte Moderna em Quioto no Japão, entre outros.

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EL DORADO THREAD GALERIE AGNÈS MONPLAISIR PARIS, FRANCE, 2014

SP-ARTE 2014 VUE DU STAND | BOOTH VIEW | VISTA DO STAND SÃO PAULO, BRAZIL, 2014

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EXPOSITIONS PERSONNELLES solo shows exposições individuais

2015

Olga de Amaral: Color sombra. Galería La Cometa, Bogotá.

2014

Olga de Amaral: El Dorado Thread. Galerie Agnès Monplaisir, Paris, France. Solo. SP-Arte. Galerie Agnès Monplaisir (Paris). São Paulo, Brazil.

2013

Olga de Amaral: Selected Works. (Collaboration Galerie Agnès Monplaisir and Louise Blouin Foundation). Louise Blouin Foundation, London, UK.

2012

Olga de Amaral. Galerie Agnès Monplaisir, Paris, France. Places. Nohra Haime Gallery, New York, NY, USA. Boundaries. Latin American Masters Gallery, Los Angeles, CA, USA.

2011

VII Pueblos & VII Polícromos. Bellas Artes Gallery, Santa Fe, NM, USA.

2009

Plusultra. Oltre il barocco. Arte latino-americana a confronto. Santa Giulia Museo della Città, Brescia, Italy. Estructuras y Esculturas, Jim y Olga de Amaral. Galería Club El Nogal, Bogotá. Jim y Olga de Amaral. Corpbanca, Caracas, Venezuela. Nudos. Bellas Artes Gallery, Santa Fe, NM, USA.

2008

Golden Fleece. Eretz Israel Museum, Tel Aviv, Israel. Strata. Galería La Cometa, Bogotá.

2007

Strata. Centro Cultural Casa de Vacas, Madrid, Spain.

2005

Resonancias. Centro Cultural de Belém, Lisbo, Portugal.

2004

Threaded Words. Embassy of Colombia, Washington, DC, USA.

2003

Glyphs. Bellas Artes Gallery, Santa Fe, NM, USA.

2002

Tiempos y tierra. Museo de la Nación, Lima, Perú. Museo de Arte Moderno, Barranquilla, Colombia.

2001

Mes de Colombia. Museo Nacional de Bellas Artes, Buenos Aires, Argentina.

2000

Pasos. Bellas Artes Gallery, Santa Fe, NM, USA.

1999

Galería Diners, Bogotá. Hillside Terrace, Tokyo, Japan. Kreismuseum Zons, Dormagen, Germany. Textilmuseum Max Berk, Heidelberg, Germany. Olga de Amaral: Woven Gold. The Albuquerque Museum, Albuquerque, NM, USA.

1998

Cranbrook Academy of Art, Bloomfield Hills, MI, USA. Indianapolis Museum of Art, Indianapolis, IN, USA.

1997

Museo de Arte Moderno La Tertulia, Cali, Colombia. Art Museum of the Americas, Washington, DC, USA. Cleveland Institute of Art, Cleveland, OH, USA. Bellas Artes Gallery, Santa Fe, NM, USA. Rétrospective. Musèe de la tapisserie contemporaine, Angers, France. Olga de Amaral: Seven Stelae. Federal Reserve Board, Washington, DC, USA. University Art Museum Downtown, The University of New Mexico, Albuquerque, NM, USA.

1996

Galería Diners, Bogotá. Peter Joseph Gallery, New York, NY, USA. Museo de Arte de Pereira, Pereira, Colombia.

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OLGA DE AMARAL GALERIE AGNÈS MONPLAISIR PARIS, FRANCE, 2012

PLUS ULTRA AL DI LA’ DEL BAROCCO MUSEO DELLA CITTA’DI SANTA GIULIA BRESCIA, ITALIA, 2009

124

1996

Nine Stelae and other Landscapes. Fresno Art Museum, Fresno, CA, USA. University of New Mexico Center for the Arts, Albuquerque, NM, USA.

1994

The Allrich Gallery, San Francisco, CA, USA. Todd Madigan Gallery, California State University, Bakersfield, CA, USA. Galería Pérez-McCullom, Guayaquil, Ecuador. Bellas Artes Gallery, Santa Fe, NM, USA.

1993

Lost Images, Inherited Landscapes. The Allrich Gallery, San Francisco, CA, USA. Elite Fine Arts, Miami, FL, USA. Cuatro tiempos (Retrospective). Museo de Arte Moderno de Bogotá, Bogotá. Centro Cultural Avianca, Barranquilla, Colombia.

1992

Lost Images, Inherited Landscapes. Johnston Community College, Overland Park, KS, USA. Bellas Artes Gallery, Santa Fe, NM, USA.

1990

Bellas Artes Gallery, Santa Fe, NM, USA.

1989

The Allrich Gallery, San Francisco, CA, USA.

1988

New Art Forms Exposition: 20th Century Decorative and Applied Arts. Navy Pier, Chicago, IL, USA. Galería Camino Real, Boca Raton, FL, USA.

1987

The Allrich Gallery, San Francisco, CA, USA.

1986

42nd Venice Biennale, Venice, Italy.

1985

The Allrich Gallery, San Francisco, CA, USA. Gloria Luria Gallery, Miami, FL, USA.

1984

The Allrich Gallery, San Francisco, CA, USA.

1983

Modern Masters Tapestries. New York, NY, USA.

1980

La Galería, Quito, Ecuador. Galería Témpora, Bogotá.

1977

La Galería, Quito, Ecuador. Florence Duhl Gallery, New York, NY, USA. Ruth Kaufmann Gallery, New York, NY, USA.

1976

Galería Belarca, Bogotá.

1975

Artweave Gallery, New York, NY, USA. Galerie Rivolta, Lausanne, Switzerland.

1974

South Yarra Gallery, Melbourne, Australia. Oynton Gallery, Sydney, Australia.

1973

Andre Emmerich Gallery, New York, NY, USA. Banque Nationale, Paris, France. Galerie La Demeure, Paris, France.

1972

Museo de Arte Moderno, Bogotá.

1970

Museum of Contemporary Crafts, New York, NY, USA.

1969

Biblioteca Luis Ángel Arango, Bogotá.

1968

Museum West, San Francisco, CA, USA.

1967

Skidmore Gallery, Saratoga Springs, NY, USA. Hall’s, Kansas City, MO, USA. Jack Lenor Larsen Gallery, New York, NY, USA.

1966

Universidad de Carabobo, Valencia, Venezuela. Museo de Bellas Artes, Caracas, Venezuela. Galería T. A. B., Bogotá.

1961

Galería El Callejón, Bogotá.

1958

Sociedad Colombiana de Arquitectos, Bogotá.

125

WATERWEAVERS BARD GRADUATE CENTER NEW YORK, USA, 2014

DECORUM POWER STATION OF ART SHANGHAI, CHINE, 2014

126

EXPOSITIONS COLLECTIVES GROUP SHOWS EXPOSIÇÕES COLETIVAS

2015

2014

2013 2012 2008

2007 2003 2002 2001 1999 1995

1994

1993

Art Rio ‘15. Galerie Agnès Monplaisir (Paris). Rio de Janeiro, Brazil. Fiber: Sculpture 1960–present. Wexner Center for the Arts, Columbus, OH, USA. Fiber: Sculpture 1960–present. Des Moines Art Center, IA, USA. Waterweavers: The River in Contemporary Colombian Visual and Material Culture (Curated by José Roca). Centro Conde Duque, Madrid, Spain. Embracing Space & Color: Art On & Off the Wall. Vero Beach Museum, Miami, FL, USA. Gold (Curated by José Carlos Diaz). Bass Museum, Miami, FL, USA. Fiber: Sculpture 1960–present. Institute of Contemporary Art, Boston, MA, USA. Artevida. Casa França Brasil, Rio de Janeiro, Brazil. Chic Matière(s). Galerie Agnès Monplaisir, Paris, France. Paper Trail. Latin American Masters, Los Angeles, CA, USA. Decorum. Power Art Station, Shanghai, China. Art Rio ‘14. Galerie Agnès Monplaisir (Paris). Rio de Janeiro, Brazil. Miami Art+Design. Galerie Agnès Monplaisir (Paris). Miami. Waterweavers: The River in Contemporary Colombian Visual and Material Culture (Curated by José Roca). Bard Graduate Center, New York, NY, USA. Decorum. Musée d’Art Moderne de la Ville de Paris, France. La esmeralda en el arte. Fundación Museo Internacional de la Esmeralda, Bogotá. Sourcing the Museum. Textile Museum, Washington, DC, USA. FIA Caracas. Galería La Cometa (Bogotá). Caracas, Venezuela. Feria Internacional de Arte de Bogotá, Artbo. Galería La Cometa (Bogotá). Bogotá. Museum of Art & Design, New York, NY, USA. One of a Kind. The Metropolitan Museum of Art, New York, NY, USA. Galería La Cometa, Bogotá. Gary Nader Gallery, Miami, FL, USA. Sofa Chicago, Chicago, IL, USA. Barro de América. Museo Nacional de Bellas Artes, Caracas, Venezuela. The Saxe Collection Donation. The de Young Museum, San Francisco, CA, USA. Portafolio AGPA. Cartón de Colombia, Cali, Colombia. Latin American Women Artists, 1915-1995. Milwaukee Art Museum, Milwaukee, WI, USA. Phoenix Art Museum, Phoenix, AZ, USA. Denver Art Museum, Denver, CO, USA. National Museum of Women in the Arts, Washington, DC, USA. Center for the Fine Arts, Miami, FL, USA. The Gold Show. Palo Alto Cultural Center, Palo Alto, CA, USA. Contemporary Crafts and the Saxe Collection. Smithsonian Museum, Washington, DC, USA. Contemporary Crafts and the Saxe Collection. Newport Harbor Museum, Newport Harbor, CA, USA. Focus on Fiber Art. The Art Institute of Chicago, Chicago, IL, USA. Contemporary Crafts and the Saxe Collection. The Saint Louis Art Museum, St. Louis, MO, USA. 15th International Lausanne Biennial, Contemporary Textile Art. Lausanne, Switzerland. Kunsten Museum of Modern Art, Aalborg, Denmark. Contemporary Crafts and the Saxe Collection. Toledo Museum of Art, Toledo, OH, USA.

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SP-ARTE 2015 VUE DU STAND | BOOTH VIEW | VISTA DO STAND RIO DE JANEIRO, BRAZIL, 2014 SP-ARTE 2014 OLGA DE AMARAL, MARTA SUPLICY Sﾃグ PAULO, BRAZIL, 2014

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1992

1990 1988 1987

1986 1985

1983 1982 1981 1980 1977

1976 1975

1974 1973

1972 1971

1970

1969

1968 1967

15th International Biennial of Tapestry. Lausanne, Switzerland. 15th International Lausanne Biennial (Travelling exhibition). Textielmuseum, Tilburg, Netherlands. Modern Design: 1890-1990. The Metropolitan Museum of Art, New York, NY, USA. 33 Salón de Artistas. Bogotá. New Traditions. Nordenfeldske Kunstindustrimuseum, Trondheim, Norway. Interlacing: The Elemental Fabric (Curated by Jack Larsen). The Textile Museum, Washington DC, USA. Interlacing: The Elemental Fabric (Curated by Jack Larsen). The Pavillon, Dallas, TX, USA. Six Decades of American Fiber (Curated by Jack Larsen). Oregon Historical Museum, Portland, OR, USA. Recent Acquisitions. Cranbrook Academy of Art Museum, Bloomfield Hills, MI, USA. Textile Survey. Sierra Nevada Museum of Art, Reno, NV, USA. Contemporary Crafts: A Concept in Flux. The Society for Art in Crafts, Philadelphia, PA, USA. Threads: Small Scale Textiles. Palo Alto Cultural Center, Palo Alto, CA, USA. Fiberworks, Invitational Exhibition of Contemporary Fiberworks. University of Texas, El Paso, TX, USA. Main Gallery, Fox Fine Arts Center, El Paso, TX, USA. Musée de l’École des Beaux Arts, Paris, France. Feria Internacional de Arte Contemporáneo, Madrid, Spain. The San Francisco Museum of Modern Art, San Francisco, CA, USA. Musée d’Art Moderne de la Ville de Paris, France. FIAC, Paris, France. Mobilier, Paris, France. 8th International Biennial of Tapestry, Lausanne, Switzerland. National Museum of Modern Art, Kyoto, Japan. The Cleveland Museum of Fine Art, Cleveland, OH, USA. Musée Ingres, Montauban, France. 7th International Biennial of Tapestry, Lausanne, Switzerland. Arte Colombiano a Través de los Siglos. Musée du Petit Palais, Paris, France. Superficies. Grand Palais, Paris, France. XXV Salón Nacional de Artes Visuales. Govett Brewster Art Gallery, New Plymouth, New Zealand. Triennale di Milano, Milan, Italy. Detroit Institute of Arts, Detroit, MI, USA. Museo de Arte Moderno, Bogotá. Fiberworks. The Emily Love Gallery Hampstead, New York, NY, USA. Chapelle de la Villedieu, Élancourt, France. Tercera Bienal de Arte Coltejer, Medellín, Colombia. 5th International Biennial of Tapestry, Lausanne, Switzerland. Zacheta Gallery, Warsaw, Poland. Textile Constructions. Ruth Kaufmann Gallery, New York, NY, USA. Deliberate Entanglements (Travelling exhibition from the University of California). Los Angeles Art Gallery, Los Angeles, CA; University of Oregon, Portland, OR; University of Utah, Salt Lake City, UT; Palace of the Legion of Honor, San Francisco, CA, USA. XXII Salón de Artistas Nacionales, Bogotá. Olga de Amaral, Else Bechteley, Sheila, Hicks. Galería Buchholz, Munich, Germany. Segunda Biennal de Arte de Coltejer, Medellín, Colombia. Textile Constructions. Ruth Kaufmann Gallery, New York, NY, USA. The Egg and the Eye Gallery, Los Angeles, CA, USA. Pan American Society of New England, Boston, MA, USA. Mayo. Mill Valley, CA, USA. Detroit Institute of Arts, Detroit, MI, USA. Wall Hangings. The Museum of Modern Art, New York, NY, USA. Purdue University Galleries, West Lafayette, IN, USA. 4th International Biennial of Tapestry, Lausanne, Switzerland. The Intersection of the Line. California State University at Long Beach, Long Beach, CA, USA. 3rd International Biennial of Tapestry, Lausanne, Switzerland. Textiles Colombianos. Colombian Center, New York, NY, USA. 129

CHANEL PARIS, FRANCE FOUR SEASONS HONG KONG

130

COLLECTIONS PRIVÉES PRIVATE COLLECTIONS COLEÇÕES PRIVADAS

ASIA AUSTRALIA EUROPE

NORTH AMERICA

SOUTH AMERICA

GBC INTERNATIONAL LONDON HEADQUARTER’S INSTALLATION

132

COLLECTIONS PUBLIQUES PUBLIC COLLECTIONS COLEÇÕES INSTITUCIONAIS

ASIA EUROPE

NORTH AMERICA

SOUTH AMERICA

Museo de Arte Moderno | Bogotá Museo de Arte Moderno La Tertulia | Cali, Colombia Museo Nacional - Cancillería | Bogotá Museo del Instituto de Arte Contemporáneo | Lima, Peru

133

INDEX

REF

TITRE TITLE TITULO

ANNÉE YEAR ANO

MEDIUM* TECHNIQUE TÉCNICA**

DIM (CM)

DIM (IN)

1230

Alquimia 002

2009

linen, gesso, acrylic paint, gold leaf

105 x 255

41 x 100

1196

Alquimia 99

2007

linen, gesso, acrylic paint, gold leaf

200 x 200

78 x 78

1294

Aqua IX

2011

linen, gesso, acrylic paint, palladium

100 x 200

39 x 78

1350

Árbol E

2013

linen, gesso, acrylic paint, gold leaf

210 X 40

83 X 16

1350

Árbol J

2013

linen, gesso, acrylic paint, gold leaf

200 X 45

79 X 18

0885

Bosque I y II

1998

linen, acrylic paint

160 x 200

63 x 79

1370A

Bruma A

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370B

Bruma B

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370C

Bruma C

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370D

Bruma D

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370E

Bruma E

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370F

Bruma F

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1370G

Bruma G

2013

linen, gesso, acrylic paint

190 x 90

75 x 35

1394

Carmin

2013

linen, gesso, acrylic paint, gold leaf

140 x 140

55 x 55

1302

Dos mitades II

2011

linen, gesso, acrylic paint, gold leaf

70 x 70

28 x 28

1317

Entre ríos 7

2012

linen, gesso, acrylic paint, gold leaf

185 x 170

73 x 67

1167

Escrito X

2006

linen, gesso, acrylic paint, gold & silver leaf

235 x 155

93 x 61

1197

Estela 34

2007

linen, gesso, acrylic paint, gold leaf

155 x 95

61 x 37

1197

Estela 35

2007

linen, gesso, acrylic paint, gold leaf

170 x 85

67 x 33

1198

Estela 38

2007

linen, gesso, acrylic paint, gold leaf

175 x 85

69 x 33

1198

Estela 39

2007

linen, gesso, acrylic paint, gold leaf

180 x 60

71 x 24

1199

Estela 40

2007

linen, gesso, acrylic paint, gold leaf

150 x 70

59 x 28

1357

Estela 45

2013

linen, gesso, acrylic paint, gold leaf

180 x 65

71 X 26

1361

Estela 49

2013

linen, gesso, acrylic paint, gold leaf

165 x 75

65 X 30

0832

Imagen perdida 25

1996

linen, gesso, acrylic paint, gold & silver leaf

175 x 70

69 X 28

1369

Lienzo 32

2013

linen, gesso, acrylic paint

195 x 100

77 X 39

1420

Lienzo A

2014

linen, gesso, acrylic paint

200 x 95

79 X 37

1421

Lienzo B

2014

linen, gesso, acrylic paint

200 x 95

79 X 37

0926

Lienzo ceremonial 25

1998

linen, acrylic paint

150 x 180

59 X 71

0996

Lienzo ceremonial 29

2001

linen, gesso, acrylic paint

170 x 100

67 X 39

0859

Luna azul

1996

linen, gesso, acrylic paint

185 x 100

73 X 39

1190

Luz strata

2007

linen, gesso, acrylic paint, gold leaf

150 x 40

59 X 16

1419

Media luna III

2014

linen, gesso, acrylic paint, gold leaf, palladium

165 x 75

65 X 30

0970

Memento 6

2000

linen, gesso, acrylic paint, gold leaf

157 x 150

62 X 59

1371

Memento 8

2013

linen, gesso, acrylic paint, gold leaf

160 x 200

63 X 79

1264

Memorias II

2010

linen, gesso, acrylic paint, gold leaf

110 x 170

43 X 67

1309

Montaña 30

2012

linen, gesso, acrylic paint

200 x 140

79 X 65

1444

Montaña 38

2014

linen, gesso, acrylic paint, gold leaf, palladium

100 x 120

39 X 47

PAGE PÁGINA

* FR | Lin, gesso, peinture acrylique, feuille d’or, feuille d’argent, palladium, papier japonais ** BR | Linho, gesso, tinta acrílica, folhia de ouro, folhia de prata, paládio, papel japonês

REF

TITRE TITLE TITULO

ANNÉE YEAR ANO

MEDIUM* TECHNIQUE TÉCNICA**

DIM (CM)

DIM (IN)

1445

Montaña 36

2015

linen, gesso, acrylic paint, gold leaf

200 x 100

79 X 39

1376

Moya A

2013

linen, gesso, acrylic paint, palladium

100 X 90

39 X 35

1378

Moya C

2013

linen, gesso, acrylic paint, palladium

125 X 70

49 X 28

1379

Moya D

2013

linen, gesso, acrylic paint, palladium

105 X 90

41 X 35

1380

Moya E

2013

linen, gesso, acrylic paint, palladium

100 X 80

39 X 31

1381

Moya F

2013

linen, gesso, acrylic paint, palladium

85 X 105

33 X 41

1422

Nebula 1

2014

linen, gesso, acrylic paint, gold leaf

80 x 80

31 X 31

1456

Nebula 5

2015

japanese paper, linen, gesso, acrylic paint, gold leaf

80 x 80

31 X 31

1458

Nebula 7

2015

japanese paper, linen, gesso, acrylic paint, gold leaf

80 x 80

31 X 31

1459

Nebula 8

2015

japanese paper, linen, gesso, acrylic paint

80 x 80

31 X 31

1469

Nebula 9

2015

japanese paper, linen, gesso, acrylic paint, gold leaf

80 x 80

31 X 31

1465

Nucleo 1

2015

japanese paper, linen, gesso, acrylic paint

130 x 180

51 X 71

1400

Nudo 16 (bronce)

2014

linen, gesso, acrylic paint

290 x 25

114 X 10

1449

Nudo 19 (turquesa)

2014

linen, gesso, acrylic paint

300 x 25

118 X 10

1284

Nudo X (oro)

2011

linen, gesso, acrylic paint

450 x 30

114 X 12

1328

Nudo XII (negro)

2012

linen, gesso, acrylic paint

300 X 30

118 X 12

1341

Pozo azul 8

2012

linen, gesso, acrylic paint, gold leaf

100 x 75

39 X 30

1345

Pozo azul 12

2013

linen, gesso, acrylic paint, gold leaf

100 x 100

39 X 39

1288

Pueblo J

2011

linen, gesso, acrylic paint, gold leaf

80 x 200

31 X 79

1316

Pueblo P

2012

linen, gesso, acrylic paint, palladium

80 x 200

31 X 79

1385

Pueblo V

2013

linen, gesso, acrylic paint, gold leaf

200 x 200

79 X 79

1391

Pueblo X

2013

linen, gesso, acrylic paint, gold leaf

200 x 100

79 X 39

1248

Resonancia 2

2009

linen, gesso, acrylic paint, gold leaf

165 x 100

65 X 39

1374

Roca

2013

linen, gesso, acrylic paint, gold leaf

230 x 235

91 X 93

0959

Segmento 8

1999

linen, gesso, acrylic paint, gold leaf

91 x 91

36 X 36

1395

Sol rojo doble

2013

linen, gesso, acrylic paint, gold leaf

155 x 100

61 X 39

1405

Sol rojo doble 2

2014

linen, gesso, acrylic paint, gold leaf

180 x 80

71 X 31

1258

Strata 18

2010

linen, gesso, acrylic paint, gold leaf

210 x 100

83 X 39

1257

Strata aqua I

2010

linen, gesso, acrylic paint, palladium

240 x 150

94 X 59

1224

Strata XII

2008

linen, gesso, acrylic paint, gold leaf

205 x 180

81 X 71

1226

Strata XIV

2009

linen, gesso, acrylic paint, gold leaf

140 x 140

55 X 55

1228

Strata XV

2009

linen, gesso, acrylic paint, gold leaf

230 x 200

91 X 79

0625

Tabla 15

1990

linen, gesso, acrylic paint, gold leaf

192 x 65

76 X 26

1180

Umbra 51

2007

linen, gesso, acrylic paint, gold leaf

150 x 75

59 X 30

1447

Umbra azul

2015

linen, gesso, acrylic paint

200 x 100

79 X 39

1060

Umbra oro 32

2003

linen, gesso, acrylic paint, gold leaf

200 x 100

79 X 39

1435

Umbra roja 60A

2014

linen, gesso, acrylic paint

200 x 100

79 X 39

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