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The MUSEUM of MODERN ART 11 West 53 Street, New York, N.Y.10019 Variaciones Ornamentales by Catalina Parra December 4- January 5, 1982. Video Gallery Variaciones Ornamentales is a five-part Installation by Chilean artist Catalina Parra. The work consists of a continuously playing five-minute videotape, which lends its title to the exhibition, and four assemblage wall pieces: Sinus, Black and White, Chilean Spring and Jean Harris. Each piece is composed of materials taken from the artist’s household or from New York City streets, or else those given to her by friends. This includes neutral substances such as gauze, plastic, and fur, as well as associative media images such as X-rays of a friend’s skull and sensational photographs torn out magazines and newspapers. There is Jean Harris behind bars, and Patrice Lumumba being forced to eat the speech in which he asserted his claim to the Republic of Congo in 1961. The ways the different materials were actively assembled- wrapped, bunched, draped, and ripped, then painfully taped and stitched together in the wall pieces, and aggressively recorded and edited in the videotape- invite closer reading of Parra’s subtle political statements. Catalina Parra was inspired by the works of the Pop artists, who abstracted and called attention to the commercial objects found in everyone’s homes. While Parra also takes her images from mass media and from mundane, daily activities, she transforms these banal, lifeless materials into emotional visual codes. Born in Santiago, Chile, in 1940, Catalina Parra comes from a distinguished family of artists. Her father is poet Nicanor Parra, and her aunt was the singer and artist Violeta Parra. Catalina lived in Germany for four years during the 1960’s, and at that time traveled extensively in Europe. Her work has been shown in Latin America, Europe, and Asia. She moved to New York in 1980, when she received a fellowship from the Guggenheim Foundation. This exhibition was made possible with support from the Museum’s International Council. The Video Program is funded by the National Endowment for the Arts, the New York State Council on the Arts, and the Rockefeller Foundation. Catalina Parra would like to thank Carlos Aparicio and the Downtown Community Television Center for their assistance in the production of the videotape. .

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Catalina Parra
LUDLOW 38 Curatorial Residencies 38 Ludlow Street · New York 10002 · ☎ +1 212 228 6848 · [email protected] CATALINA PARRA May 22 – June 26, 2011 Reception for the artist: Sunday May 22, 1-6pm MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is pleased to announce a solo show by Catalina Parra. For this exhibition Parra has selected works made between 1969 and today, stemming from extended periods in Germany, Chile, Canada and the United States. The exhibition opens with a series of crayon drawings executed by Parra at the beginning of her career near Lake Constance, Germany. Also presented are early collages and photographs including material that led to Parra’s contribution for Manuscritos (1975), the fi rst publication of art criticism after the Chilenean military coup of 1973. Relying on a variety of media including drawing, collage and fi lm, Parra has demonstrated an extraordinary sensibility towards the socio-political affairs that take place around us. As artist Coco Fusco outlined in a 1991 essay that was published in the catalogue for Parra’s solo show at the Intar Gallery, Parra “concentrates on the process of coming to terms with information that connotes something different than what it denotes.” With an aesthetic awareness that draws parallels to the work of Hannah Höch and John Heartfi eld, the artist repeatedly begins her constructions from newspaper advertisements to create hand-sewn collages and mixed media works. Her newspaper collages are executed in series form, each series containing multiple variations. The exhibition at Ludlow 38 features pieces from a number of these series including Coming your way (Banff, 1994), The Human touch (1989) and Here, there, everywhere (1992).
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Intersecciones Entre Feminismo
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Nelly Richard's Crítica Cultural: Theoretical Debates and Politico- Aesthetic Explorations in Chile (1970-2015)
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Conceptual Art and Politics in Latin America Mari Carmen Ramı´Rez
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Catalina Parra Catalina Parra
1 Catalina Parra Catalina Parra Biografía Catalina Parra, artista visual. Nació en Santiago, Chile, en 1940. De formación autodidacta, hija del poeta Nicanor Parra. Vivió en Alemania entre 1968 y 1972; en 1980 viajó a New York con la Beca Guggenheim permaneciendo allí hasta el año 2000. Entonces se trasladó a Buenos Aires para ejercer el cargo de Agregada Cultural de Chile en Argentina, país donde residió hasta el 2009. Ha sido Artista en Residencia en: Museo del Barrio, New York, Estados Unidos, 1990; SUNY Purcharse, State University of New York, Estados Unidos, 1991; Rhode Island School of Design, Providence, Estados Unidos, 1993; Banff Center for the Arts, Canadá, 1993-1994; Civitella Ranieri, Umbertide, Italia, 1995. Premios y distinciones 1977 Premio de Honor en Grabado y Dibujo, Tercera Bienal Internacional de Arte de Valparaíso, Museo Municipal de Bellas Artes, Valparaíso, Chile. 1980 Beca Fundación Guggenhein, New York, Estados Unidos. 1992 Premio de la Crítica en Artes Visuales, ex aequo con Francisco Smythe, Círculo de Críticos de Arte, Santiago, Chile. Exposiciones EXPOSICIONES INDIVIDUALES 1971 Galerie Press, Konstanz, Alemania. 1977 Imbunches Catalina Parra, Galeria Época, Santiago, Chile. 1981 Museum of Modern Art, MOMA, New York, Estados Unidos. 2 1983 Ivonne Seguy Gallery, New York, Estados Unidos. 1987 Terne Gallery, New York, Estados Unidos. 1989 Catalina Parra, Galería Plástica Nueva, Santiago, Chile. 1990 Gallerie Zographia, Bordeaux, Francia. 1991 Musee des Arts, Sainte Foy, Francia. 1991 INTAR Gallery, Nueva York, Estados Unidos. 1991 Médiatheque Municipale, Libourne, Francia. 1992 Lehman College Art Gallery, New York, Estados Unidos. 1992 Catalina Parra: Retrospectiva, Museo de Arte Contemporáneo, MAC, Universidad de Chile.
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Never Say in Private What You (Won't) Say in Public
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Monumentos Privados. Arte Chileno De Avanzada (1977-1982) Private Monuments: Chilean Art of the Avanzada (1977-1982)
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HALART Phd Full Revised
Sophie Halart EPIDERMAL AESTHETICS: SKIN AND THE FEMININE IN CHILEAN AND ARGENTINE ART (1973- PRESENT) Submitted for the Degree of Doctor of Philosophy in History of Art University College London 1 I, Sophie Halart, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Thesis Abstract This thesis examines the motif of skin in both its material and symbolic manifestations in contemporary Latin American art. More specifically, it seeks to trace the presence of an “epidermal aesthetics” in a selection of works by artists active in Chile and Argentina over a period ranging from 1973 to the present. Taking 1973 as its starting point, my temporal frame coincides with the military coup staged by the Chilean armed forces and their implementation of a dictatorial regime that would last until 1989. Meanwhile, a violent military Junta also ruled over Argentina between 1976 and 1983. My contention is that, in their (re-)activation of a patriarchal and hetero-normative discourse, these regimes affirmed their power by resorting to a virile rhetoric that built itself on and against the bodies of women. By claiming a right to define the feminine and by associating it with the image of the Nation (Patria), the Chilean and Argentine Juntas effectively turned the skins of thousands of women into screens upon which they could project their propagandistic discourses. In this thesis, I examine the stakes of this particularly stringent form of political repression for female embodiment. Far from taking women as mere victims of state violence though, I argue that artists also found in the motif of the skin an appropriate topos to articulate practices of resistance which, by extension, led to a redeployment of the artistic field as one inhabited by “epidermal aesthetics”.
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Reconstructions Julia P. Hertzberg the Art of Catalina Parra Addresses
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