Frieze Masters: Feliza Bursztyn
Past exhibition
Installation Views
Works
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Feliza BursztynUntitled (Color Series), 1981Iron scrap (Vehicle)112 x 174 x 114 cm
44 1/8 x 68 1/2 x 44 7/8 inches -
Feliza BursztynUntitled (Miniescultura Series), 1972Welded stainless steel on a black marble base39 x 17 x 22 cm including base
15 3/8 x 6 3/4 x 8 5/8 inches -
Feliza BursztynUntitled (Color series), 1981Iron scrap (Vehicle)157 x 123 x 72 cm
61 3/4 x 48 3/8 x 28 3/8 inches -
Feliza BursztynUntitled (Chatarras Series), 1963 c.Welded iron scrap90 x 70 x 50 cm
35 3/8 x 27 1/2 x 19 3/4 inches -
Feliza BursztynUntitled (Chatarras Series), 1961 c.Scrap metal128 x 29 x 28 cm
50 3/8 x 11 3/8 x 11 1/8 inches -
Feliza BursztynUntitled (Chatarras Series), 1975 c.Scrap iron rod113.4 x 97 x 67 cm
44 5/8 x 38 1/4 x 26 3/8 inches -
Feliza BursztynArbol (Tree), 1972Assemblage of welded Typewriter and mechanic parts on white base46 x 15 x 15 cm including base
18 1/8 x 5 7/8 x 5 7/8 inches -
Feliza BursztynUntitled (Números), 1960 c.Scrap metal25.4 x 25.4 x 27.9 cm
10 x 10 x 11 inches -
Feliza BursztynUntitled (Minimáquinas Series), 1968-1974 c.Welded steel28 x 18 x 15 cm
11 x 7 1/8 x 5 7/8 inches -
Feliza BursztynUntitled (Chatarras Series), 1961 c.Scrap metal80.6 x 21.6 cm
31 3/4 x 8 1/2 inches
Overview
On the occasion of Frieze Masters, London, The Mayor Gallery is excited to present Feliza Bursztyn (b. 1933 Bogotá, Colombia - d. 1982 Paris, France) who was a pioneering Colombian artist whose work, alongside that of her Brazilian contemporaries Gego and Mira Schendel, revolutionised the Latin American art scene. Throughout her career, the artist combined and interrogated ideas about art, machines, craft, modernity, and labour through the lens of hysteria- a term which since the nineteenth century has been used to describe female instability, abnormality, and emotional excess. Bursztyn created her kinetic sculptures using discarded fragments of machines, tires, cables and other metal bits adding, with time, hand-dyed fabrics, motors, light, and sound to produce increasingly complex installations and environmental proportions. By deploying the notion and tropes of madness, Bursztyn thus explored the irrationalities, fragilities, and ambiguities of modern life.