Creator: Eltit, Diamela, 1949-×
  • Cada 20 años
    Eltit, Diamela, 1949-
    1999
    In her essay “Cada 20 años” (Every 20 Years), Diamela Eltit reviews the art activities organized by C.A.D.A. (Colectivo de Acciones de Arte; Art Action Collective) during the two decades since the group was started in 1979. She [...]
    ICAA Record ID: 740299

  • Congestionamientos
    Eltit, Diamela, 1949-; Brito, Eugenia, 1950-
    1980
    Diamela Eltit and María Eugenia Brito coauthored this essay about Lotty Rosenfeld’s project Una milla de cruces sobre el pavimento [A Mile of Crosses on the Pavement]. The text includes a prologue and eight chapters, each identified with [...]
    ICAA Record ID: 744653

  • Desacatos
    Eltit, Diamela, 1949-
    1986
    Diamela Eltit writes about Lotty Rosenfeld’s intervention, which consisted of altering the intermittent lines painted on streets to create traffic lanes. The text is arranged in a non-traditional layout that testifies to its poetic, reflective [...]
    ICAA Record ID: 734576

  • Enunciar, anunciar, denunciar : el arte como archivo
    Eltit, Diamela, 1949-
    2003
    In this text Diamela Eltit writes about Guillermo Núñez’s artwork on the occasion of a retrospective exhibition of his works. She discusses the political violence to which he was subjected during the military dictatorship (1973& [...]
    ICAA Record ID: 757287

  • Gestos críticos
    Eltit, Diamela, 1949-
    1990
    In “Gestos Críticos” (Critical Gestures) Diamela Eltit, a member of the group Colectivo Acciones de Arte (C.A.D.A), discusses the art actions that were performed during the military dictatorship in Chile (1973–90). According [...]
    ICAA Record ID: 736098

  • La función del video
    Rosenfeld, Lotty, 1943-2020; Eltit, Diamela, 1949-
    2001
    In this text Diamela Eltit and Lotty Rosenfeld explain the role of video in their work. They started working with video in 1979, using it to record ephemeral actions, and describe it as a “memory.” They discuss ways in which this tool [...]
    ICAA Record ID: 744687

  • Lástima que seas una rota
    Eltit, Diamela, 1949-
    1996
    In her catalogue essay for Rota, the exhibition of works by Juan Domingo Dávila, Diamela Eltit presents an overview of Dávila’s painting, claiming that it always involved a convergence of multiple signs, references from different [...]
    ICAA Record ID: 731868

  • Madre patria
    Eltit, Diamela, 1949-
    1987
    Diamela Eltit writes about Juan Downey’s work on the occasion of his exhibition in Chile, Festival Downey. Eltit’s essay is divided into two sections: “La patria: todas las patrias” [The Homeland: All the Homelands] and &ldquo [...]
    ICAA Record ID: 735694

  • Socavada de sed
    Eltit, Diamela, 1949-
    1982
    In this text the writer Diamela Eltit discusses her artistic activities. She refers to the series of art actions called Zona de dolor (Painful Zone), which acknowledge the physical exclusion and marginalization with which she identifies her otherness [...]
    ICAA Record ID: 731842

  • Un filme subterráneo
    Eltit, Diamela, 1949-; Rosenfeld, Lotty, 1943-2020
    1982
    Diamela Eltit and Lotty Rosenfeld wrote this essay after the Círculo de Estudios de la Mujer invited them to take part in a conference commemorating International Women’s Day. Eltit and Rosenfeld had intended to show a pornographic film [...]
    ICAA Record ID: 731801

  • Yacer incubada oval en la fotografía
    Eltit, Diamela, 1949-
    1987
    Diamela Eltit discusses Nelly Richard’s assessment of the Escena de Avanzada, explaining that, having been mentioned in Richard’s book, she finds herself in the paradoxical position of being a subject of the work in question as well as [...]
    ICAA Record ID: 738611