María Teresa Hincapié

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Galerías y otras organizaciones que le representan

Galeria Casas Riegner

Organizaciones con obra

MUSAC - Museo de Arte Contemporáneo de Castilla y León

Museo Nacional de Colombia

Museos Banco de la República

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Descripción del Artista

María Teresa Hincapié fue una de las figuras más influyentes en el campo del arte corporal y de acción latinoamericano. Su obra es una reflexión en torno a lo cotidiano, lo sagrado y lo femenino, una llamada de atención sobre lo imperceptible en la que la precisión de movimientos, la repetición calculada y la temporalidad expandida son las estrategias mediante las cuales la artista transforma tareas rutinarias en actos simbólicos. Las suyas fueron acciones de largo aliento, rituales profundamente espirituales creados para experimentar y dar forma a energías y tiempos nuevos. Se revela en su práctica una oposición entre el silencio, la lentitud, el ruido, el vértigo y la banalidad del mundo contemporáneo. Hincapié utilizó su cuerpo como vehículo de comunicación, su vida fue su propuesta poética y en sus performances confluyeron todos los aspectos de su existencia, desde su creatividad hasta su sentido de la ética, la política o la ecología. María Teresa Hincapié fue ganadora del primer premio del XXXIII Salón Nacional de Artistas en 1990 por su performance Una cosa es una cosa, destacando por ser la primera vez que este certamen otorgaba el premio a una obra de carácter efímero y no objetual. Seis años más tarde, gracias a la acción Divina Proporción, volvió a recibir el premio del XXXVI Salón Nacional de Artistas. Su obra se ha mostrado en la 27 Bienal de Sao Paulo de 2006 y en la I Bienal de Venecia, en 2001. < ENG María Teresa Hincapié (1956-2008) was a pioneer artist of performance and a very influential figure in Latin America. She won the first prize at the XXXIII National Salon of Artists of Colombia in 1990 with the work Una cosa es una cosa, a plastic action that took her 12 hours and which placed her in the annals of Colombian art. And for the second time in 1996 for the work Divine proportion. She began her artistic career involved with theater and was part of the group “Acto Latino” from which she developed her own dance-theater-ritual inspired by oriental techniques. After traveling through Mexico, Europe and Asia, Hincapié returned to Colombia and began a search for alternative spaces for her artistic expressions. At that time, she was linked with artists such as Doris Salcedo, José Alejandro Restrepo, and Álvaro Restrepo. Her version of Desde la huerta de los mudos (1986), a tribute to Federico García Lorca that she made in collaboration with Álvaro Restrepo, marked the beginning of the fusion between theater and visual arts that the artist developed throughout her work . A year later, a work by the artist José Alejandro Restrepo was introduced in the field of performance based on Parquedades (1987), which completely removed it from the theatrical forms and from the conventional notion of ‘spectacle’. She has also participated in international exhibitions and fairs such as I Bienal de Valencia – The Body of Art Biennial of Valencia (2001), 51 International Art Exhibition – Always a little further, La Biennale di Venecia (2005), and 27th Bienal de São Paulo (2006), among others. Statement María Teresa Hincapié, with a strong imprint due to the experience within the anthropological theater towards the end of the 70s, developed a corpus of work where the rigorous handling of the body, a great sense of the intervened space and time, occupy crucial aspects in her creations. Her extensive training and research on dance and theater in different cultures – especially oriental ones – linked her work especially with the field of performance, becoming one of its most prominent representatives in Colombia. Her visual actions, of an intense gestural and poetic character, reveal gender issues such as oppression, loneliness and abandonment. The static and tense rhythms of her presentations create an atmosphere that is often claustrophobic and openly critical of certain circumstances of social and sexual alienation. The artist carried out actions that took physical effort to limits that revealed pain as an intimate and universal expression. Her epic marathon journeys of symbolic nature are remembered, carried out in Colombia, Mexico and other countries, pointing out cultural and political milestones through extensive geographical tours carried out on foot and the exhausted and prolonged actions in museums where daily acts were revealed as metaphors which provoked emotion and reflection; “Vitrina” (1989) is a clear example of the work of an artist who intends to physically manifest the tensions of psychological, political and social violence practiced, especially, on female identity

Exposiciones en las que ha participado como artista

Cuerpos radicales, video en la colección de arte del Banco de la República

Colectiva

María Teresa Hincapie

Individual

Las cosas no terminan, somos su continuación

Colectiva

6 exposiciones individuales

11 exposiciones colectivas