Böcker utgivna av Skira

This book documents the exhibition Lux et Veritas, organized by NSU Art Museum Fort Lauderdale in 2022. The exhibition¿s title alludes to Yale University¿s motto, Lux et Veritas, which translates from Latin to ¿Light and Truth¿; in this context, the title references how these artists thought with critical complexity about their work and their movement through institutional structures. As with similar programs, Yale School of Art, in New Haven, Connecticut, had not been historically diverse, which spurred these art students to form affiliations across the departments of painting, graphic design, sculpture, photography and art history. They filled gaps in the school¿s curriculum and counteracted the lack of diversity among the faculty by inviting artists, curators and writers of colour as advisors and guest speakers, developing an interdisciplinary forum, publishing art journals, organizing exhibitions and documenting their experiences in video and photography. The relationships they formed at school evolved into communities that networked and provided essential support and feedback for one another, often passing on these efforts beyond graduate study. Their re-evaluation of the Western art canon, and commitment to the method and practice of teaching has contributed to a greater recognition of artists of colour, challenged stereotypes and enriched the overall shared spaces of learning and thinking about art and the art praxis. Lux et Veritas provides a public forum in which to address the directions these artists took based on the explorations that began in graduate school and were instilled thereafter in their practice.

The monographic survey of Chung Seoyoung's (b.1964) sculptural practice from the 1990's up to the present is published in conjunction and response to Chung's retrospective exhibition held at the Seoul Museum of Art (SeMA) from September 1 to October 31, 2022. Chung Seoyoung is a sculptor who has pioneered the discourse and the artistic practice around 'things' and their status and relations in flux over time, and is regarded as a representative artist who demonstrated the turn towards contemporaneity in the 1990's Korean art scene. More than an exhibition documentation, the publication traces how the problems of the world that the artist deals with have transitioned by considering Chung Seoyoung's sculptural practice in both synchronic and diachronic manner. In the artist's engagement in the physical paths through which the world is perceived and her interest in things as manifestation of the world's relations converted to matter, Chung expands the scope of sculpture, and simultaneously searches for ways to remember the vernacular of sculpture. The book includes essays written by art historian Jihan Jang, curator and art historian Chus Martinez, and writer and critic Marina Vishmidt, and a conversation with artist Sung Hwan Kim. Their in-depth research and diverse perspectives not only put forth novel interpretations of Chung Seoyoung's oeuvre, but also recast both subtle and major shifts in Korean contemporary art that is yet to be widely discussed.

Katalin Ladik is pioneering figure in Central and Eastern European art histories, merging performance, (visual) poetry, photography, and installation in a practice that spans over six decades. Her practice is intertwined with the art histories of Novi Sad in former Yugoslavia - where she was a key protagonist among a generation of avant-garde artists and writers in the 1960s - and Budapest, her adopted home since the mid-1970s. The catalogue for the exhibition Ooooooooo-pus, organized at Muzeum Susch in 2022/2023, contextualizes Ladik¿s wide-ranging practice within post-war international discourses on (lens-based) performance, concrete and visual poetry, scoreand instruction-based work, feminist histories, as well as the presence of ritual and folklore in recent art. Authors such as Diedrich Diederichsen (theorist and critic, Berlin), Hendrik Folkerts (Curator of International Contemporary Art, Moderna Museet, Stockholm), Irena Haiduk (artist, Belgrade and New York), Ana Janevski (Curator of Media and Performance, Museum of Moderna Art, New York), and Dieter Roelstraete (writer and curator, Neubauer Collegium for Culture and Society, University of Chicago) will contribute longer-form essays, while various experts including Emese Kürti (art historian and critic, Budapest), Bhavisha Panchia (cura tor and writer, Johannesburg), Gloria Sutton (Associate Professor of Contemporary Art History, Northeastern University, Boston), Paolo Thorsen-Nagel (musician and artist, Berlin), and Mónica de la Torre (poet, New York) will discuss a single work from Ladik¿s practice.

Photographer Richard Avedon, with a more than six-decade-long career, produced innovative and delightful work in fashion, as well as incisive and captivating portraits. Over the course of his lifetime he worked with a number of models and a wide range of portrait subjects, creating a powerful body of pictures that allow his viewers to study the likenesses of actors, ballet dancers, celebrities, civil rights activists, heads of state, inventors, musicians, visual artists and writers. Avedon offers viewers the opportunity to study faces without crossing any socially imposed boundaries about staring too long; he encourages viewers to think about the people before them, the lives they have lived, their private personalities and public personas, their struggles, accomplishments, disappointments, and joys. Richard Avedon. Relationships presents a selection of 100 iconic fashion photographs and portraits, from the extensive collection at the Center for Creative Photography, to delve into his approach to photographing people. Avedon¿s combination of talent and skill, technical proficiency and attuning to his individual subjects, allowed him to make portraits that are riveting presentations of the people he photographed. Indeed, he achieved mastery of the portraiture form. Avedon had the opportunity to photograph a number of his portrait subjects on more than one occasion. Within the catalogue it is possible to see painter Jasper Johns in 1965 and 1976; novelist Carson McCullers in 1956 and 1958; the Beatles Andy Warhol, Marilyn Monroe, and poet Allen Ginsberg in 1963 and 1970. Perhaps the most dramatic and powerful example of Avedon¿s ongoing photographic relationship is that with his friend and collaborator, Truman Capote.

Since 2011, Alcantara has initiated a series of collaborations and virtual projects, establishing a new form of intervention in the art world. A unique, tailor-made approach, in perfect harmony with the brand¿s values and identity. Visual artists, fashion and industrial designers, directors and video makers, architects and musicians from all over the world have worked with Alcantara, developing works exhibited in some of the most prestigious museums, cultural institutions and international theatres, from MAXXI in Rome to the Victoria and Albert Museum in London, the Yuz Museum in Shanghai, the Mori Museum in Tokyo, the Teatro Regio in Turin and the Teatro Massimo in Palermo. Some real highlights stand out among the many collaborative projects with international artists: from the designers Nendo, Marcel Wanders, Ross Lovegrove, Giulio Cappellini and Ingo Maurer to the architect Nanda Vigo, known for introducing the concept of spatialism in interior design; from the most poetic of Italian video makers, Yuri Ancarani, to Chinese calligraphy artists such as Qin Feng and Qu Lei; from the visionary haute couture designer Iris Van Herpen to brilliant musicians such as Matthew Herbert, Caterina Barbieri and Soundwalk Collective, and so on. These are just some of the protagonists of the creative scene with whom Alcantara has had the privilege of establishing a relationship of genuine complicity, enjoying the privilege of sharing their creative path for a certain period of time. Founded in 1972, Alcantara represents the very best of Italian production. The result of a unique and proprietary technology, Alcantara is a highly innovative material able to offer an unparalleled combination of sensory aspects, aesthetics and functionality. Thanks to its extraordinary versatility, Alcantara is the choice of the most prestigious brands in numerous fields of application: fashion and accessories, automotive, interior design and home décor, consumer-electronics. These characteristics, together with a serious and certified commitment to sustainability, enable Alcantara to express and define the contemporary lifestyle.

This volume presents the works of Kerunen and Sekajugo, whose dual ways of making art, despite their different aesthetic approaches, find common ground in their respective visions of materiality and form. Says Shaheen Merali, curator: "Radiance. They Dream in Time refers to the essential knowledge and lived experiences of Kerunen and Sekajugo in speaking to the many different territories of Uganda as well as to urban trade and living conditions in its urban centres. Both artists have been actively working with formal and informal archives of Uganda's dynamic visual culture". Acaye Kerunen's process as a socially engaged artist foregrounds the work of local and regional Ugandan craftswomen, celebrating them as integral collaborators and elevating the artistic practices of local artisans who are the gatekeepers of their local wetlands, drawing upon a sacred and unspoken knowledge of ecological stewardship. By deconstructing utilitarian materials and artisan crafts, Kerunen repositions the work in order to tell new stories and posit new meaning. The act of re-installing these deconstructed materials is a response to the agency of women's work in Africa and an acknowledgment of the role that this artistic labor plays in the climate ecosystem. Collin Sekajugo approaches his work from a distinct, aesthetic departure point that resides in his repeated return to pop culture and the omnipresent influence exuded by the global mainstream, conversing and critiquing its many biases across visual, oral and digital cultures. Since 2012, Sekajugo has worked with the manipulation of the common stock image to reveal its inherent biases of entitlement and privilege largely modelled on the Western self. Sekajugo's artistic practice highlights a contemporaneous anthropological reversal of this mainstream culture through the lens of a decidedly African sense for irreverence and play on the ad-hoc. Conceptually, the works of Sekajugo become pure theatre, a hacking of identity that exposes some truths behind these stock images that quietly continue to colonise the entire globe by the weight of their own popularity.

This book examines a selection of paintings by Bernardino Luini (ca. 1480/85¿1532) that were influenced by Leonardo da Vinci (1452¿1519). Comparative analysis shows that Luini, from adopting Leonardös compositions and motifs, went on to incorporate elements of his style and expression in a group of works dating to the 1520s. These are the focus of the book. In imitating Leonardo, Luini traded complexity for clarity, simplifying his manner and making it accessible to a broad audience undifferentiated by age, gender, or class. The artist¿s method of popularizing Leonardo, however, led to criticism of his works as merely derivative, but that fails to consider their function as devotional images. Beyond church teachings and practices, little is known about how ordinary viewers looked at religious art in this period. Their responses are not recorded. But Luini¿s paintings themselves provide clues, like the foregrounding of the figures and their interaction with each other and the beholder, to indicate how they served a devotional purpose. The artist may not have been an intellectual like Leonardo, but the thinking inherent in his works is absolutely coherent and consistent. Their clear organization and unequivocal meaning effectively communicate the religious message he sought to convey. This book revisits the idea that Leonardo da Vinci was the essential inspiration for his younger contemporary Bernardino Luini. Instead of a broad notion of Leonardös influence, however, the book offers a more complex understanding of the relation between the two artists, one that seeks to account for Luini¿s much-criticized lack of originality vis-à-vis the older master. In one artistic category in which Leonardo offered few models ¿ devotional images of the Passion of Christ ¿ Andrea Solario, himself influenced by Leonardo, had a decisive impact on Luini. Solariös influence complemented Leonardös, enabling Luini to set a new standard for depicting a broad range of sacred subjects.

This book examines a selection of paintings by Bernardino Luini (ca. 1480/85¿1532) that were influenced by Leonardo da Vinci (1452¿1519). Comparative analysis shows that Luini, from adopting Leonardös compositions and motifs, went on to incorporate elements of his style and expression in a group of works dating to the 1520s. These are the focus of the book. In imitating Leonardo, Luini traded complexity for clarity, simplifying his manner and making it accessible to a broad audience undifferentiated by age, gender, or class. The artist¿s method of popularizing Leonardo, however, led to criticism of his works as merely derivative, but that fails to consider their function as devotional images. Beyond church teachings and practices, little is known about how ordinary viewers looked at religious art in this period. Their responses are not recorded. But Luini¿s paintings themselves provide clues, like the foregrounding of the figures and their interaction with each other and the beholder, to indicate how they served a devotional purpose. The artist may not have been an intellectual like Leonardo, but the thinking inherent in his works is absolutely coherent and consistent. Their clear organization and unequivocal meaning effectively communicate the religious message he sought to convey. This book revisits the idea that Leonardo da Vinci was the essential inspiration for his younger contemporary Bernardino Luini. Instead of a broad notion of Leonardös influence, however, the book offers a more complex understanding of the relation between the two artists, one that seeks to account for Luini¿s much-criticized lack of originality vis-à-vis the older master. In one artistic category in which Leonardo offered few models ¿ devotional images of the Passion of Christ ¿ Andrea Solario, himself influenced by Leonardo, had a decisive impact on Luini. Solariös influence complemented Leonardös, enabling Luini to set a new standard for depicting a broad range of sacred subjects.

On the Move features three different groups of nomadic or semi-nomadic pastoralists in three vastly different regions ¿ the Central Sahara in Africa, the Arabian Gulf and the Central Eurasian steppes ¿ highlighting crosscutting themes relevant to contemporary concerns about the human condition and our planetary future. The book shares lessons we might learn from the ways of pastoral nomads, such as living lightly on the land and working creatively with and through the sometimes challenging natural environments within which they move and know intimately. Themes under exploration include mobility and self-sufficiency; materialism, consumerism and environmental destruction; the potency of experience-based knowledge both practical and richly imaginative; and how the concepts we use affect our appreciation of cultural differences. The book seeks to highlight the gap between the ways these groups see and understand themselves and the stereotypes - both negative and romantic - by which outsiders (from travellers and architects to ecologists and state officials) have represented them or sought either to appropriate or to control and change them. Working against tendencies to view such groups as timeless or remnants of the past, this exhibit follows a historical approach, juxtaposing different historical periods to show how the pastoralists¿ ways of living and possibilities for flourishing have been affected by both environmental and political forces, specifically from key ruptures of the past century. At the same time, it suggests that we have much to learn from the pastoralist way of life.

On the Move features three different groups of nomadic or semi-nomadic pastoralists in three vastly different regions ¿ the Central Sahara in Africa, the Arabian Gulf and the Central Eurasian steppes ¿ highlighting crosscutting themes relevant to contemporary concerns about the human condition and our planetary future. The book shares lessons we might learn from the ways of pastoral nomads, such as living lightly on the land and working creatively with and through the sometimes challenging natural environments within which they move and know intimately. Themes under exploration include mobility and self-sufficiency; materialism, consumerism and environmental destruction; the potency of experience-based knowledge both practical and richly imaginative; and how the concepts we use affect our appreciation of cultural differences. The book seeks to highlight the gap between the ways these groups see and understand themselves and the stereotypes - both negative and romantic - by which outsiders (from travellers and architects to ecologists and state officials) have represented them or sought either to appropriate or to control and change them. Working against tendencies to view such groups as timeless or remnants of the past, this exhibit follows a historical approach, juxtaposing different historical periods to show how the pastoralists¿ ways of living and possibilities for flourishing have been affected by both environmental and political forces, specifically from key ruptures of the past century. At the same time, it suggests that we have much to learn from the pastoralist way of life.

The COVID-19 Visual Project. A Time of Distance began life as a multimedia platform with the aim of becoming a permanent archive on the pandemic. In its entirety, it is a collection that includes a variety of content aimed at recounting the health crisis, the social and individual consequences and the economic impact that characterize this unexpected period in history. A platform where internationally renowned photographers and video makers, visual artists and journalists, leave their indelible mark. The images touch upon the most important themes linked to the pandemic, such as the health crisis, empty cities, lockdown, the economic effects, social sacrifices and personal consequences, nature's recovery and the new normal. The book, edited by Arianna Rinaldo, seeks to be a compendium of this period of history distinguished by unique events that have touched different parts in the world in the same way, producing side effects characterized by cultural and social particularities. Punctuated by chapters on different themes, A Time of Distance aims to portray the events, reactions and widespread mood, without seeking to be exhaustive, instead offering a wide range of stories from different places around the world. The ultimate objective is to be a testimony and a space that collects significant visual accounts of this historical phase, to which we can return to try to understand what happened, how and why; and to remember a period during which humanity as a whole was forced to press "pause" as one. A Time of Distance puts itself forward as the "repository" of a collective historical memory, to help prevent us from forgetting the time of separation that we all had to live through and which we all sought to survive, each in our own way.

One of the key figures in Japan¿s pivotal Mono-ha phenomenon of the late 1960s and early 1970s, artist Kishio Suga has realized a visionary practice of ephemeral, site-specific installations and performative interventions into the everyday environment. Writing is an important mechanism in Sugäs artistic process, and his output spans aphoristic statements, fragmentary notes, art criticism, theoretical essays, and detective novels. Published in venues ranging from exhibition pamphlets to Japan¿s leading culture journals, Sugäs texts deploy barbed humor and gruff intellect to prompt readers to rethink their assumptions about art and knowledge. This volume, the second of a three-part anthology, features Sugäs writings from the period 1980¿1989. Having challenged institutional definitions of art through his formulations of the [thing] and being left a decade prior, Suga shifts his focus in the 1980s toward de-centering the human as the sole agent of perception. In particular, he embarks on a sustained investigation into the dynamics of periphery, which informs his work through to the present. Concurrently, the museum building boom that accompanied Japan¿s rise to economic superpower in the 1980s precipitated a broad historicization of post-war Japanese art, and Suga devotes several important essays to reflection on Mono-ha. He also revisits his unpublished notes in a series of fragmentary texts, culminating in a retrospective compilation of aphoristic statements for his monograph Kishio Suga: 1988¿1968.

Aelita Andre (born in 2007 in Melbourne) is an Australian abstract painter. She began experimenting with paint when she was nine months old and her extraordinary acrylic on canvas paintings were presented in her first solo exhibition in Australia at age two. Aelitäs artistic impulses embody the kind of richly expressive freedoms that the ¿fathers of modern art¿ such as Kandinsky and Klee drew upon over a century ago to create the entire canon of Western abstract art. This self-taught artist demonstrates creativity in its purist form, which has become the wellspring of her interactions with the natural environment surrounding her. Picasso and Rothko acknowledged the superiority of children¿s art in its ability to be visually brazen, utterly fresh, and even revolutionary ¿ characteristics they yearned for throughout adulthood. Aelita Andre breaks away from the conventions of contemporary art to produce truly inspirational pieces that are stunningly vivacious and original. Now formally recognized as the youngest prodigy painter in the world, Aelita Andre staged a widely acclaimed solo exhibition in 2016 (at nine years of age) at the Royal Academy of Fine Arts Museum in St. Petersburg, Russia. In 2020 and 2022, she was among the world¿s top 100 recipients of the ¿Global Child Prodigy Awards¿ in the ¿Art & Drawing¿ category. Aelita continues to create her beautiful ¿sound and touch-paintings¿ and installations, merging art and music, and successfully exhibiting her work internationally.

During his short career, Bronx-born Darrel Ellis (1958-1992) created a multifaceted and expansive body of work merging painting, printmaking, photography, and drawing before his premature death due to AIDS-related causes. Ellis's greatest achievement happened in his early twenties, when he was given a group of negatives shot by his father, a postal worker and studio photographer who died in police custody shortly before Ellis was born. The younger Ellis's unique studio practice involved projecting these photographic negatives onto a sculpted surface, masking out areas, and re-photographing them, generating a stream of surrogates that capture the fleeting effects of memory and the experience of disillusion. Ellis's technical and theoretical experimentation transformed contemporary serial and appropriation practices into something unrecognizably new, beautiful and compellingly heartfelt. Darrel Ellis: Regeneration offers the first comprehensive, scholarly survey of Ellis's practice and includes essays by the curators with added contributions by Makeda Djata Best, Allen Frame, Scott Homolka, Linda Owen and Kyle Croft.

Henri is a free artist. His eclectic, versatile practice has led him to work with sculpture, painting, graphics, mosaics and ceramics, with an authentically exploratory approach. Henri is a living testimony to art understood as inspiration and expressive vitality. Henri's style is characterized by a refined expressionism accentuating the physical features of human and animal figures, distorting muscles into tensions, nerves, cheekbones, and fibres, yet always averting grotesque, caricatural and obscene outcomes. This accentuation of physiognomic features, profiles, grinding, nodules, is the most distinctive trait of his production. But his works are never caricatures, farces, or jokes. Henri is an artist taking human and animal features where harmony and physical composure dissolve, fall apart, and become an inner expression, a state of mind, a symbol. Henri does not create figures, but psychic states.

Published on the occasion of the solo exhibition devoted to Otobong Nkanga(Kano, Nigeria, 1974; lives and works in Antwerpen, Belgium), among the most important international contemporary artists of African origin who tackles urgent issues related to the ecological crisis and the environment, the exploitation of resources and sustainability, from a point of view that takes into account the history of colonialism with the consequent inequalities and repercussions on the social fabric. Through a multidisciplinary approach and the use of expressive languages, such as sculpture, tapestry, drawing, video, photography, participatory projects and performances, in her works Otobong Nkanga explores the natural traces and the social and cultural dimensions of the human being, in a network complex of relations with the territory. Her works address urgent issues related to the ecological crisis and the environment, the exploitation of resources and sustainability, exploring the stories of colonialism and new forms of material art. The monograph focuses on a new project, a site-specific installation designed for the five rooms of the third floor of the Castello (approximately 750 square meters). The installation includes two large carpets with irregular shapes inspired by minerals such as quartz and malachite, whose healing properties have been known since ancient times. Long hand-woven ropes branch off from each carpet, crossing the exhibition space. A number of objects and elements, both organic and handcrafted, are tied to the ropes, offering the experience of a relational environment, in which visitors can benefit from the healing and beneficial properties contained in the specific objects, becoming co-authors of new stories who in turn redesign the space.

Anne Imhof (Gießen, Germany, 1978) is internationally recognized as one of the most innovative voices of her generation. Through her "durational performances", she offers an unprecedented expression of the experience of the contemporary world in which physicality is increasingly mediated by digital communication. The new forms of alienation and detachment dictated by the massive spread of social media and its new related gestures can be considered an essential component in the artist's work. Published on the occasion of the first exhibition in an Italian institution dedicated to her, the book presents paintings, sculptures, objects, architectural elements, drawings and a sound installation that is inspired by the form of the public concert, as well as a performance and some historical works of art. The central sculptural element is a long glass and steel wall that Imhof stages in order to define the space in an ambivalent way. Untitled (Glass Wall), 2019-2020, is an architectural and sculptural work comprising glass panels mounted on steel bases.

The third volume of the catalogue raisonné of Enrico Castellani accompanies the other two volumes published in 2012, which document his works made between 1955 and 2005, and completes the cataloguing regarding the practice of this artist, who died in 2017. The volume, in Italian/English, divided into various sections, gathers his works on canvas, sculptures, high reliefs and installations registered with the Archive of the Fondazione Enrico Castellani and not included in the previous two volumes of the catalogue raisonné (Skira, 2012). The book is arranged chronologically to follow the authorised cataloging and carries forth the work begun by Renata Wirz, who died in 2016, and promoted by Castellani himself, with whom the publication process and work verification was agreed upon for this final and third volume. The book, promoted by the Fondazione Enrico Castellani, edited by Lorenzo Wirz Castellani and Federico Sardella and introduced by Hans Ulrich Obrist, together with the two previous publications, represents the vastest monograph dedicated to this artist¿s work and, in addition to being an essential tool in identifying his works, fully renders the spirit and modalities of the method of Enrico Castellani, whose final ten years of activity were especially prolific.

Designed in collaboration with the Weston family, this publication features over 80 works by the four photographers, leaving the leading role to the founder Edward Weston, with 40 of his pictures. These include almost all of his best known masterpieces: from his textural portraits to his nudes celebrating form, from his sand dunes to his plain objects transformed into sculptures, all the way to his famous close-ups of vegetables and shells, that have marked the history of photography of the last century, taking it from the late 19th- to early 20th-century pictorialist vision to an innovative modernist and surrealist figuration that made Edward Weston one of the absolute masters of world photography. Alongside his works, the book includes a selection of about 20 images by his son Brett, certainly the most determined in seeking a possible interpretation of his father's lesson, which he clearly found in landscape, a subject he studied and captured through geometries evoking abstract art. Cole Weston, represented by two further collections, on the other hand distanced himself from his father through the use of colour. Cara Weston - Edward's granddaughter who is still active today - is a refined black and white photographer, offering her personal contemporary take on classical themes.

Published in conjunction with an exhibition opening at the Cincinnati Art Museum, Galloping through Dynasties investigates the history of Chinese horse painting, a subject heretofore not adequately studied. The research has led to new insights into the evolution of Chinese horse painting in both its stylistic and symbolic contents and helps place Chinese horse paintings in their historical contexts through the political and social messages contained within them. Galloping through Dynasties, organized chronologically, explores the following themes: Celestial Horse and Imperial Horse Portraits in Early China, The Song Aesthetics and New Genres of Horse Painting, Transformation of the Horse Image in the Yuan dynasty, and The Symbolic Language of Horse Painting in the Ming and Qing dynasties. The catalogue offers new insights into not only how the Chinese define horses through their concept of nature, but also how Chinese horse paintings evolved in both their stylistic and symbolic contents and formed a symbolic language to convey political and social messages. The new findings on the historical development of Chinese animal painting filled a major gap and resolved much of the confusion in the symbolic contents.

Seen as a great artist in Colombia, elsewhere Bursztyn has remained relatively unknown. The publication is a comprehensive survey on pioneering art practice of Bursztyn and seeks to reflect on and animate new tendencies in research on Feliza Bursztyn and her vibrant body of work. It features texts by prominent writers, researchers and curators - Julia Buenaventura, Cecilia Fajardo-Hill, Camilo Leyva, Daniel Muzyczuk, Lucas Ospina, Sylvia Suárez, Gina McDaniel Tarver, Lynn Zelevansky - and rarely published archive materials. The publication inaugurates the Muzeum Susch and Skira Editore's series dedicated to re-discovering women artists overlooked by the main canons of art history. A pioneer in kinetic sculpture, Feliza Bursztyn (1933, Bogota-1982, Paris) created wrecked metal sculptures with ghostlike yet comical humanoid traits that addressed the social effects caused by the aggressive modernization of Colombian society. Composed of industrial junk, often motor-animated, these works perform a theater of dystopian industrial hybrids. Bursztyn's immersive installations are characterized by their disconcerting mechanical sound produced by the frenetic vibration of the sculptures, as well as by occasional music scores accompanying the pieces. The artist's works and sculptural mise-en-scènes enact sites of aesthetic resistance and antithetical political investment, creating a unique experience that raises awareness on the situation and the perception of women in a male-dominated society and reveal the troublesome face of modernity.