Artista

Feliza Bursztyn

1933 en Bogotá, Distrito Especial de Bogotá, Colombia

Datos generales
Algoritmo AI

Fallecimiento:

1982 en Paris, Ile-de-France, Francia

Profesionales que le han comisariado:

Abigail Winograd en:

Feliza Bursztyn: Welding Madness, 2021

Marta Dziewanska en:

Feliza Bursztyn: Welding Madness, 2021

Ferias en las que participa con OBRA :

Art Basel 2023
Expo Chicago 2023
Art Basel 2022

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Galerías y otras organizaciones que le representan:

Galeria Casas Riegner

Organizaciones con obra:

Cisneros Fontanals Art Foundation (CIFO)

Colección de Arte Avianca

Fundación ARCO - Colección ARCO

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Profesionales con obra:

Colección Ganitsky Guberek

Hernando Santos Castillo

Etiquetas:

Arte cinético Escultura Instalación

Descripción del Artista

Feliza Bursztyn (b. Bogotá, 1933 – d. Paris, 1982) was a key figure in the development of Colombian modernism - the first Colombian artist to use found materials as the primary component of her work and a pioneer in kinetic sculpture and the creation of immersive installations that utilized sound, light, and movement. Although her story is fascinating, until now she has remained little-known about outside of Colombia. The survey show is a pioneering effort to articulate her place in art history. The child of Polish-Jewish immigrants, Bursztyn's work grappled with the fraught politics of Colombia and other countries in Latin America, which underwent an intense period of post-war industrialisation at the time she was working. Her political views informed the material and the content of her sculpture and drove her to challenge the artistic status quo, drawing attention to economic inequalities. She challenged the political and cultural elite’s enthusiasm ... for industrialization and modernization and turned a critical eye to the strictures of a conservative Catholic society and the ways it stigmatized women and sex. Bursztyn worked in a very inter-disciplinary fashion, working with writers, poets, musicians, experimental film-makers, theatre directors. Her own method of installation was quite theatrical, creating installations that were multi-sensory experiences.

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