The work of artist Lotty Rosenfeld continues to expand and expand her legacy beyond Chile. Starting this past weekend, Buenos Aires hosts the retrospective “Lotty Rosenfeld: intercrosses of memory (1979-2020)”.
Curated by the cultural theorist and critic Nelly Richard and with the research of Mariairis Flores, it is presented through two parallel exhibitions that opened to the public at the MATTA Cultural Center of the Chilean Embassy in Argentina and in the PAyS Room of the Parque de la Memory.
With the support of the Ministry of Cultures, Arts and Heritage through the Executive Secretariat of Visual Arts and the Directorate of Cultures, Arts and Heritage of the Ministry of Foreign Affairs, Dirac, the two proposals that exhibited in Buenos Aires allow us to highlight the importance of Lotty Rosenfeld’s career.
She is a pioneering artist in the field of urban interventions who critically reconceptualized the link between aesthetics and politics, combining social exteriority with video work on the image as part of the problem of archives and memory. Additionally, she was co-founder of the emblematic collective CADA (Collective of Art Actions).
As part of the initiatives, last week Nelly Richard gave the conference “Lotty Rosenfeld and her “crosses” between aesthetics and politics”, in the auditorium of the Museum of Latin American Art of Buenos Aires (Malba), to revisit the most relevant aspects of his career and understand his work as a multiple torsion that violates the frameworks of power and opens up to a critical imagination.
The exhibition at the MATTA Cultural Center, which opened on April 26, displays photographs and videos of the artist’s works, prepared in collaboration with the Chilean writer Diamela Eltit. Additionally, last Saturday there was a conversation between art historian Andrea Giunta and Eltit, who, like Lotty Rosenfeld, was a co-founder of CADA.