“Diario de Vida” Cecilia Vicuña’s artistic practice in London (1972-1975) (A letter to Carla Macchiavello)

Revista de Estudios Globales y Arte Contemporáneo

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Title “Diario de Vida” Cecilia Vicuña’s artistic practice in London (1972-1975) (A letter to Carla Macchiavello)
“Diario de Vida” Cecilia Vicuña’s artistic practice in London (1972-1975) (A letter to Carla Macchiavello)
 
Creator Lamoni, Giulia
 
Subject Art History; Feminisms; Cultural studies
Contemporary Art; Migration; Networks; Chile; Feminism
Historia del arte; feminismos; estudios culturales
Arte contemporáneo; migración; redes; Chile; feminismo
 
Description On the 11th of September 1973, when the coup took place in Chile, artist Cecilia Vicuña was in London, studying at the Slade School of Art. In June 1973, feeling that the socialist government of Allende was under imminent threat, she started to create what she called a “diary of objects”, which then became the installation A Journal of Objects for the Chilean Resistance, exhibited in London in 1974. This text—a letter addressed to art historian Carla Macchiavello—discusses the relation between space, place and memory mobilized by Vicuña’s artworks A Journal of Objects for the Chilean Resistance (1973-74) and Ruca Abstracta (1974) while considering the artist´s experience of migration, and later exile, to London in the early 1970s and her strong political positioning against the coup in Chile.  
El 11 de septiembre de 1973, cuando el golpe de estado se produjo en Chile, la artista Cecilia Vicuña se encontraba en Londres, estudiando en la Slade School of Art. En junio de 1973, sintiendo que el gobierno socialista de Allende estaba bajo amenaza inminente, comenzó a crear lo que llamó un “diario de objetos”, que luego se convirtió en la instalación A Journal of Objects for the Chilean Resistance, exhibida en Londres en 1974. Este texto—una carta dirigida a la historiadora de arte Carla Macchiavello—discute la relación entre el espacio, el lugar y la memoria movilizada por las obras de Vicuña A Journal of Objects for the Chilean Resistance (1973-74) y Ruca Abstracta (1974), al tiempo que considera la experiencia de la migración, y más tarde el exilio, a Londres a principios de los años setenta y su fuerte posicionamiento político contra el golpe en Chile.On the 11th of September 1973, when the coup took place in Chile, artist Cecilia Vicuña was in London, studying at the Slade School of Art. In June 1973, feeling that the socialist government of Allende was under imminent threat, she started to create what she called a “diary of objects”, which then became the installation A Journal of Objects for the Chilean Resistance, exhibited in London in 1974. This text—a letter addressed to art historian Carla Macchiavello—discusses the relation between space, place and memory mobilized by Vicuña’s artworks A Journal of Objects for the Chilean Resistance (1973-74) and Ruca Abstracta (1974) while considering the artist´s experience of migration, and later exile, to London in the early 1970s and her strong political positioning against the coup in Chile.  
 
Publisher Universitat de Barcelona
 
Contributor

 
Date 2019-01-06
 
Type info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion



 
Format application/pdf
 
Identifier http://revistes.ub.edu/index.php/REGAC/article/view/27417
10.1344/%x
 
Source Revista de Estudios Globales y Arte Contemporáneo; Vol. 5, Núm. 1 (2018): Vol. 5 (2017-2018): Redes y circulaciones en la Guerra Fría: diálogos y prácticas interculturales en el sur global (1957-1991); 87-119
Revista de Estudios Globales y Arte Contemporáneo; Vol. 5, Núm. 1 (2018): Vol. 5 (2017-2018): Redes y circulaciones en la Guerra Fría: diálogos y prácticas interculturales en el sur global (1957-1991); 87-119
2013-8652
 
Language eng
 
Relation http://revistes.ub.edu/index.php/REGAC/article/view/27417/28366
 
Coverage Chile; UK
1972-1975

Chile, Reino Unido
1972-1975

 
Rights Copyright (c) 2019 Revista de Estudios Globales y Arte Contemporáneo
 

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