Maria Teresa VIECCO

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VIECCO _portrait_16
MARIA TERESA VIECCO

Born in Bogota, Colombia, graduate in architecture of the National University of Colombia and of the Ecole Supérieure des Beaux Arts of París, in the field of painting.

Has been living and working in Paris since 1978.

 

Main exhibitions : Paris Biennale, Museum of Modern Art of Bogota, Havana Biennale, Museum of Modern Art La Tertulia in Cali (Colombia) and  in other galleries in Paris, New York, Bogota and Berlin. Her last exhibition “Blue” took place at the Diners Gallery in Bogota in 1998.

EXHIBITIONS : PDF

In 2014, after more than 10 years of absence from her artistic career, she resumed her artistic pursuits in parallel with her architectural activities.

The current series entitled “Imaginary Animals” is a second reading of subjects already present in her works on the relationship between man and nature.

The series “November 13” is a tribute to the victims of the attacks of Paris and Saint Denis.

 

EXCERPTS FROM A TEXT BY BARBARA TÖPPER FENNEL – BARSIKOW GALLERY BERLIN 1998

The series “Images of Memory” delves deeply into the very personal memories of a Latin American artist living in Europe; at the same time, it grasps the collective memories of painting, memories of the cultural history of humanity, of the times that preceded civilization, of archetypes and primitive rites. The images are memories of places and are in themselves places of memory. (….)

These works are based, fully consciously, on linear tradition that’s often forgotten in modern art by the constant pressures of innovation and euphoria of progress of vanguard movements within modernity itself, established in an exemplary manner by Picasso in relation to African art: the task of the memory is not to repeat the past but to take ownership of it within its own context.

Thus, the artist’s seemingly naive and joyful images in the present exhibition bring to the fore a key question that has preoccupied humanity from the very beginning and with which each distinct culture is confronted, “Where do we come from and where are we going?”

While fully respecting the density of their fundamental subjects, these paintings radiate freedom and display incredible lightness. They exude happiness and at the same time retain the right to evoke, in a playful way, the tragic face of life. Conversely, they earn their freedom by virtue of their graphic elements.

 

TEXT BY PIERRE COURCELLES, ART CRITIC, PARIS 1998

 What do painters think about? What do they see? What do they make us see? The answer to these questions is that the appearances they present to us through artists’ paintings are fragments of what they think, see or say — fragments of forgotten and painful realities that arise from the very depths of culture and history.

Before becoming an object of curiosity or trade, painting serves as a document existing for the benefit of the world and of the intelligence of humanity. It is in fact living matter torn from its history and one of the few means man can make a claim on immortality. Painting, therefore, stands before us, watching intensively until the moment we recognize ourselves in it as we are — as we will never be.

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