| Summary: | Retrospective of Chilean poet, visual artist and feminist activist Cecilia Vicuña in a Chilean museum since 1971. Born in 1948 and based in New York, United States, since 1980, the artist created the concept of "Precarious Art" in the mid-1960s, to name what disappears. Her work is considered an early vision of ecofeminism and decolonization. The traveling exhibition includes around 200 works of paintings, drawings, screenprints, collages, textiles, videos, photographs, installations, poetry, artist books, and performances, belonging to public and private collections, in addition to the large format installation called "Quipu menstrual (la sangre de los glaciares)" (Menstrual quipu (the blood of glaciers)). Miguel A. López's curatorship highlights Andean memory in her artistic production, as well as the impact of civil-military regimes and the catastrophic effects of neoliberalism on the social, natural and cultural landscape. Her pieces are part of prestigious collections, including the Museum of Modern Art (MoMA) in New York. Curated by Miguel A. López, the book not only delves into Vicuña's art, but also includes essays by prominent scholars and a conversation between Vicuña, Marisol de la Cadena, and Camila Marambio. Published on the occasion of the exhibition "Cecilia Vicuña: Dreaming Water" held at Malba - in collaboration with the National Museum of Fine Arts in Santiago de Chile and the Pinacoteca de São Paulo- this is the most comprehensive monographic book dedicated to Cecilia Vicuña's work to date. It features a main text by curator and editor Miguel A. López in epistolary format - a letter addressed to the artist - as well as new essays by Elizabeth A. Povinelli, Catherine de Zegher, and José de Nordenflycht. It includes two texts by Vicuña on her drawings from the "Palabrarmas" project and the activism of the group Artists for Democracy, as well as a conversation between Vicuña, Marisol de la Cadena, and Camila Marambio.
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