215:(Vienna). Amalia Pica was one of nine artists who were commissioned to create art that alters continually in contact with visitors; viewers were invited to mount and change the exhibition, resulting in an unlimited number of possible arrangements. The exhibition aimed to question the dominant role of the curator in structuring the exhibition. According to the Kunsthalle Wien, âthe main actor of the exhibition will be the spectator who will not act as a consumer but as a co-producer of the artists and the curator.â Pica exhibited her series,
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162:, a period of state terrorism in Argentina. In light of this fact, Pica's work raises questions about the role of government, language and communication, and human connections. Much of her work explores fundamental issues of communication, such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take.
1247:. The artist herself explains that âthe way installs shows are more like conversations between different piecesâŠthe works kind of shift meaning every time thereâs a new company of other works.â Picaâs interest in human modes of communication extends to exploration of the human desire to be understood despite the imperfections of those forms of communication.
329:. "The two circles of light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in the context of Argentine dictatorship in the 1970s. Iâm interested in the ideas that we project onto images and objects: how they resist as much as accommodate them."
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and focuses on the complex communication between strangers. The work requires two strangers to hold each end of a string of colorful bunting without letting it touch the ground in the limited space. The resulting distance creates a barrier that prevents the linked participants from having an intimate
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Metaphors are also part of Pica's work, as she uses figures of speech to describe things that have no name. "An object that has no nameâthat, in a way, escapes languageâby invoking something entirely unrelated. Hence, we get phrases like âleg of the chairâ or âneck of the bottleâ which attach human
289:, rainbows, photocopies, lightbulbs, drinking glass, beer bottles and cardboard. According to the publishing house, & Pens Press, âPicaâs work is directly dealing with the translation of symbolic language and motivated by how meaning is created and deciphered between the artist and the viewer.â
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qualities to inanimate things. Objects have a space and a weight, a physical presence that eludes language. You canât speak an object: you have to speak around it. Metaphors are a way of doing that. In a sense, when we talk about the world, it's always in metaphors." Pica's
352:, the site of Argentina's Declaration of Independence, to be yellow, as it is shown in children's books. However, it is actually white. The 2002 site-specific installation bathed the building in a bright yellow light, in reference to the misconception.
134:, Argentina) is a London-based Argentine artist who explores metaphor, communication, and civic participation through sculptures, installations, photographs, projections, live performances, and drawings. Pica currently works and lives in London.
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communication. Julie
Rodrigues Widholm, director at the DePaul Art Museum, states that, âThe bunting suggests a party or communal gathering, and Pica plays with the idea of distance and proximity as it relates to communication.â
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shapes, with which performers will produce different compositions in front of the audience. The notion of intersection links to the idea of collaboration and community. This artwork is a performative manifestation of
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merges distinct and contrasting found materials, such as the leg of a table or the elbow of a pipe, to construct sculptural forms that become new tools of communication and take on identities of their own.
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243:, which were forbidden from being taught in elementary schools during the 1970s, as the concept of intersection and collaboration were seen as potentially subversive by the Argentine dictatorship.
258:âs Soundcloud excerpt, Pica discusses her âArt Under the Same Sunâ exhibition, housed at the Guggenheim in 2013, sharing her interest in the overlapping and intersecting of individual objects.
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In 2012, Amalia Pica was the recipient of The Future
Generation Art Prize, which she received for an installation of her works focusing on communication and listening. Featured works are
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2552:"Marc Foxx â LEONOR ANTUNES, ANNE COLLIER, LUISA LAMBRI, CARTER MULL, ANNETE KELM, AMALIA PICA, MATTHEW RONAY, MAAIKE SCHOOREL, FRANCES STARK, HIROSHI SUGITO, MATEO TANNATT"
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Amalia Pica was awarded a CIFO grant, from the
Cisneros Fontanals Art Foundation, in 2011. In that same year, her work was part of the ILLUMInazioni project in the
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2014:
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1224:. Also in 2011, Pica received the illy Prizeâaimed at celebrating the most innovative artist of the international art fair Art Rotterdamâand the
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325:. The Argentine government banned this diagram from being taught in classrooms in the 1970s, as it was thought to be an incendiary model of
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In 2013, she was one of the finalists for the
Pinchuk Foundation's Future Generation Art Prize. In 2020, she was awarded the
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348:, Pica proves how what we internalize during our childhood will accompany us through adult life: most Argentines believe
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In 2016 Amalia Pica participated in the group exhibition âOne, No One and One
Hundred Thousandâ shown in the
344:, explores the lessons and themes of childhood and how they irrevocably stay with us through adult life. In
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2121:"AMALIA PICA â babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada"
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Amalia Pica: babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada
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critically comments on the banning by the dictatorship of Venn
Diagrams in elementary schools. In the
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Foundation Award, established by one of the largest independent grant-making foundations in the UK.
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1492:"Amalia Pica "A â© B â© C (Line)" at Herald St, London / MOUSSE CONTEMPORARY ART MAGAZINE"
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321:, which consists of two colored circles of light cast from theater spotlights to form a
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uses everyday objects as signifiers of celebration: fiesta lights, flags and banners,
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1353:"JĂłvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica"
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It may require cleanup to comply with
Knowledge's content policies, particularly
3013:
1381:"Playing Telephone: An Interview with Amalia Pica â Interviews â Art in America"
234:(read as A intersection B intersection C), Amalia Pica uses translucent colored
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in Buenos Aires in 2003. From 2004 to 2005, she held an artist residency at the
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2376:"Curators' series #10: Greater than the sum, curated by Kunsthalle Lissabon"
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Pica is also fascinated with childhood. Possibly her best-known early work,
250:, stems from the dictatorship in her home country of Argentina (1976â1981).
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Curatorsâ series #10: Greater than the sum, curated by
Kunsthalle Lissabon
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Pica's interest in the relationship between text and image is evident in
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2663:"Exhibit320 â Art Gallery, Contemporary Art Space, Art Gallery in India"
2923:"Drawing typologies â proposal for municipal art acquisitions drawings"
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Pica was born in Neuquén, Argentina, in 1978. She earned a BA from the
1468:"Collection Online | Amalia Pica. A â© B â© C. 2013 â Guggenheim Museum"
131:
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Video: "Amalia Pica â 'Can Joy Be a Form of
Resistance?' | TateShots"
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in London. In 2014, her work was included in the group exhibition,
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3056:""The Future Generation Art Prize@Venice 2013" / PinchukArtCentre"
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3080:"Proyectos Ultravioleta announces representation of Amalia Pica"
2499:"fondazione giuliani » Beauty Codes (order/disorder/chaos)"
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2985:"illy Announces 2011 Illy Prize Winners During Art Rotterdam"
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925:, Birmingham, UK, touring to Stroom den Haag, The Hague, NL
123:
Now speak! by Pica, Krimpertplein, Amsterdam-Zuidoost (2021)
3111:
3038:"Future Generation Art Prize 2012 â Amalia Pica, Argentina"
1962:"Archive Past Exhibitions Amalia Pica | Chisenhale Gallery"
1657:"Amalia Pica: "Me gusta el concepto de intimidad cultural""
1273:"Amalia Pica: "Me gusta el concepto de intimidad cultural""
2634:"Guggenheim UBS MAP Global Art Initiative â Latin America"
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180:, among others, were the artists that Pica first studied.
2401:"Monumentos, anti-monumentos y nueva escultura pĂșblica"
1995:
basis
Frankfurt e.V. production and exhibition platform
195:, first performed in 2008, was featured in the updated
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Escuela Nacional de Bellas Artes Prilidiano PueyrredĂłn
33:
A major contributor to this article appears to have a
857:
Monumentos, anti-monumentos y nueva escultura pĂșblica
1862:""Low Visibility" | KĂNIG GALERIE | Dessauerstrasse"
452:
La Criée, Centre d'Art Contemporain, Rennes, France
2150:"Fly me to the Moon. The Moon landing: 50 years on"
2015:"Amalia Pica at Modern Art Oxford | Oxford Today"
976:Histories II: Works from the Serralves Collection
692:Fly me to the Moon. The Moon landing: 50 years on
3130:
1008:Under the Same Sun: Art from Latin America Today
889:Under the Same Sun: Art from Latin America Today
3014:"Amalia Pica | Paul Hamlyn Foundation"
2842:"THE UNGOVERNABLES, 2012 NEW MUSEUM TRIENNIAL"
1780:""MATERIAL" | KĂNIG GALERIE | Dessauerstrasse"
663:
360:Amalia Pica's work has been exhibited at the
1682:"Performance at Tate: Into the Space of Art"
387:
2891:"Map marathon for the 21st century, London"
1774:
1772:
1057:When Attitudes Became Form Become Attitudes
713:Museo de Arte ContemporĂĄneo de Buenos Aires
158:Pica was born in the late 1970s during the
137:
3169:Argentine emigrants to the United Kingdom
2765:"Project Space: Ruins in Reverse | Tate"
1215:
113:ClĂnica de Obra con Tulio de Sagastizabal
108:Instituto Universitario Nacional del Arte
64:Learn how and when to remove this message
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2610:"The Reluctant Narrator | Museu Berardo"
2179:Museo de Arte ContemporĂĄneo Buenos Aires
1838:"Amalia Pica : Kunsthalle Lissabon"
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292:
261:
118:
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246:The inspiration for Pica's exhibition,
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2818:"Public Art Fund : Common Ground"
2445:"Bajo un mismo sol | Museo Jumex"
2426:"One, No One and One Hundred Thousand"
1679:
1424:"One, No One and One Hundred Thousand"
1040:The Printed Room: Emmy Moore's Journal
332:
183:
153:
1609:"Artist of the week 196: Amalia Pica"
1602:
1600:
880:Kunsthalle Wien, ZĂŒrich, Switzerland
3149:21st-century Argentine women artists
2789:"Archive â Kunst Halle Sankt Gallen"
2711:"Museum of Contemporary Art Detroit"
2301:"Darbyshire, Gander, Pica, Starling"
1748:"One Thing After Another â La criĂ©e"
1702:
1462:
1460:
1458:
1439:
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876:One, No One and One Hundred Thousand
623:University of Michigan Museum of Art
380:in New York. Her artwork is part of
205:One, No One and One Hundred Thousand
111:Escuela Nacional de Bellas Artes P.P
18:
2581:"Fundação de Serralves â Serralves"
1633:"Aesthetica Magazine â Amalia Pica"
1606:
1552:"Amalia Pica â Aesthetica Magazine"
1406:"Aesthetica Magazine â Amalia Pica"
896:, Mexico City (Guggenheim touring)
384:, and the Guggenheim's collection.
319:Venn Diagrams (under the Spotlight)
311:Venn diagrams (under the spotlight)
222:
104:Rijksakademie van Beeldende Kunsten
13:
2961:"La Biennale di Venezia â Artists"
2475:"Eastside Projects | Display Show"
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2355:San Francisco Museum of Modern Art
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830:San Francisco Museum of Modern Art
789:Darbyshire, Gander, Pica, Starling
14:
3190:
3101:
2738:
2251:"After Leaving / Before Arriving"
2068:"UMMA Magazine | May â June 2011"
1455:
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1920:"MCA â Exhibitions: Amalia Pica"
44:. Please discuss further on the
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2175:"Iteraciones sobre lo no mismo"
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1680:Finbow, Acatia (October 2016).
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1241:Under the Spotlight: Red on Red
1089:Project Space: Ruins in Reverse
967:Marc Foxx Gallery, Los Angeles
756:After Leaving / Before Arriving
641:Marc Foxx Gallery, Los Angeles
3154:Argentine contemporary artists
2889:Sterling, Bruce (2010-10-15).
1944:"Friday Favorite: Amalia Pica"
1730:"Amalia Pica, A â© B â© C, 2013"
1538:& Penns Press, Los Angeles
1534:"Friday Favorite: Amalia Pica"
1516:"Amalia Pica, A â© B â© C, 2013"
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1271:Chatruc, Celina (2015-05-29).
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538:Ascendant Artists: Amalia Pica
355:
1:
2741:"Version Control â Arnolfini"
1948:& Pens Press, Los Angeles
1576:"Amalia Pica | bola de nieve"
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708:Iteraciones sobre lo no mismo
2793:www.kunsthallesanktgallen.ch
2380:David Roberts Art Foundation
2044:"Amalia Pica: UMMA Projects"
1385:www.artinamericamagazine.com
1013:Solomon R. Guggenheim Museum
846:David Roberts Art Foundation
7:
2528:"Repetition and Difference"
1842:www.kunsthalle-lissabon.org
1330:MIT List Visual Arts Center
1237:Acoustic Radar in Cardboard
559:MIT List Visual Arts Center
275:MIT List Visual Arts Center
10:
3195:
2503:www.fondazionegiuliani.org
1705:"Amalia Pica A-B-C (Line)"
1556:www.aestheticamagazine.com
1404:Beesley, Ruby (May 2013).
1109:Kunst Halle Sankt Gallen,
1080:, Bristol, United Kingdom
938:Fondazione Giuliani, Rome
715:, Buenos Aires, Argentina
664:Selected group exhibitions
618:Amalia Pica: UMMA Projects
543:Museum of Contemporary Art
493:Memorial for Intersections
362:Museum of Contemporary Art
191:Picaâs performance piece,
3174:Argentine women sculptors
3164:Women performance artists
2206:. 7 February â 5 May 2019
2092:"Marc Foxx â AMALIA PICA"
947:Repetition and Difference
609:, Oxford, United Kingdom
388:Selected solo exhibitions
99:
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78:
2479:www.eastsideprojects.org
2276:"12th Shanghai Biennale"
2019:www.oxfordtoday.ox.ac.uk
812:, Folkestone Triennial,
279:Cambridge, Massachusetts
269:Previously shown at the
138:Early life and education
2204:Museum Haus Konstruktiv
2200:"Concrete Contemporary"
2048:Flickr â Photo Sharing!
729:Museum Haus Konstruktiv
448:One thing after another
3179:21st-century sculptors
2125:www.konsthall.malmo.se
1580:www.boladenieve.org.ar
1303:Tanya Bonakdar Gallery
1233:Sorry for the metaphor
1216:Recognition and awards
992:The Reluctant Narrator
909:König Galerie, Berlin
773:12th Shanghai Biennale
731:, ZĂŒrich, Switzerland
625:, Ann Arbor, Michigan
513:König Galerie, Berlin
150:van beeldende kusten.
124:
2822:www.publicartfund.org
1359:(in European Spanish)
862:Museo de Arte Zapopan
724:Concrete Contemporary
273:in London and at the
122:
42:neutral point of view
3060:PinchukArtCentre.org
2745:www.arnolfini.org.uk
2280:Power Station of Art
1430:. February 19, 2016.
832:, San Francisco, US
810:Folkestone Triennial
778:Power Station of Art
764:Biennial, Lithuania
350:The House of Tucuman
327:social collaboration
3159:People from Neuquén
3086:. February 19, 2022
2715:www.mocadetroit.org
2687:"Salts Switzerland"
2432:. 19 February 2016.
2330:Creative Folkestone
2230:Whitechapel Gallery
2226:"Is This Tomorrow?"
1661:www.lanacion.com.ar
1410:Aesthetica Magazine
745:Whitechapel Gallery
376:, presented at the
154:Influences and work
3018:artists.phf.org.uk
2965:www.labiennale.org
2667:www.exhibit320.com
2638:www.guggenheim.org
2614:en.museuberardo.pt
2455:on 23 October 2016
1950:. August 23, 2013.
1540:. August 23, 2013.
1522:. August 23, 2013.
1472:www.guggenheim.org
1449:www.guggenheim.org
1202:Drawing Typologies
1175:Serpentine Gallery
1064:Detroit, Michigan
983:, Porto, Portugal
780:, Shanghai, China
602:For Shower Singers
575:Chisenhale Gallery
374:Under the Same Sun
271:Chisenhale Gallery
125:
93:Neuquén, Argentina
2532:The Jewish Museum
1966:chisenhale.org.uk
1703:Fletcher, Annie.
1496:moussemagazine.it
1213:
1212:
1138:The Ungovernables
1105:Chronic Listeners
952:The Jewish Museum
923:Eastside Projects
740:Is This Tomorrow?
661:
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607:Modern Art Oxford
378:Guggenheim Museum
281:, the exhibition
256:Guggenheim Museum
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1377:
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1340:
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1337:
1336:
1322:
1313:
1312:
1310:
1309:
1295:
1289:
1288:
1286:
1285:
1268:
1252:Zurich Art Prize
1207:Stedelijk Museum
1191:Kunsthalle Basel
1159:Menil Collection
1030:New Delhi, India
963:Group Exhibition
697:Kunsthaus ZĂŒrich
668:
667:
392:
391:
366:Venice Bienniale
364:in Chicago, the
217:Joy in paperwork
76:
75:
69:
62:
58:
55:
49:
35:close connection
27:
26:
19:
16:Argentine artist
3194:
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2769:www.tate.org.uk
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2430:Kunsthalle Wien
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2269:
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2255:Kaunas Biennial
2249:
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2224:
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2050:
2042:
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2026:
2013:
2012:
2008:
1999:
1997:
1989:
1988:
1984:
1975:
1973:
1960:
1959:
1955:
1942:
1941:
1937:
1928:
1926:
1918:
1917:
1913:
1904:
1902:
1895:museotamayo.org
1889:
1888:
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1836:
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1770:
1761:
1759:
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1741:
1728:
1727:
1723:
1713:
1711:
1709:Van Abbe Museum
1701:
1697:
1678:
1674:
1665:
1663:
1655:
1654:
1650:
1641:
1639:
1631:
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1607:Sherwin, Skye.
1605:
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1428:Kunsthalle Wien
1422:
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1402:
1398:
1389:
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1378:
1371:
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1316:
1307:
1305:
1297:
1296:
1292:
1283:
1281:
1269:
1265:
1260:
1222:Venice Biennale
1218:
1127:Public Art Fund
1073:Version Control
981:Museu Serralves
866:Zapopan, Mexico
794:Hayward Gallery
666:
655:Malmö Konsthall
465:König Galerie,
461:Dessauerstrasse
390:
358:
338:
315:
298:
267:
228:
213:Kunsthalle Wien
209:
189:
156:
140:
112:
110:
106:
95:
90:
81:
70:
59:
53:
50:
39:
28:
24:
17:
12:
11:
5:
3192:
3182:
3181:
3176:
3171:
3166:
3161:
3156:
3151:
3146:
3141:
3127:
3126:
3120:by Amalia Pica
3114:
3103:
3102:External links
3100:
3097:
3096:
3071:
3047:
3044:. Dec 3, 2012.
3029:
3005:
2976:
2952:
2937:"CIFO Artists"
2928:
2914:
2900:
2881:
2857:
2833:
2809:
2780:
2756:
2731:
2702:
2678:
2654:
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2217:
2191:
2166:
2141:
2112:
2083:
2059:
2035:
2006:
1982:
1953:
1935:
1924:mcachicago.org
1911:
1891:"Museo Tamayo"
1882:
1853:
1829:
1800:
1768:
1739:
1721:
1695:
1692:on 2017-03-28.
1672:
1648:
1624:
1596:
1567:
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1507:
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1415:
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1151:
1147:
1146:
1140:
1135:
1131:
1130:
1124:
1119:
1115:
1114:
1113:, Switzerland
1107:
1102:
1098:
1097:
1091:
1086:
1082:
1081:
1075:
1070:
1066:
1065:
1059:
1054:
1050:
1049:
1048:, Switzerland
1042:
1037:
1033:
1032:
1026:
1024:Audible Forces
1021:
1017:
1016:
1010:
1005:
1001:
1000:
994:
989:
985:
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973:
969:
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631:
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588:
583:
579:
578:
572:
567:
563:
562:
556:
551:
547:
546:
540:
535:
531:
530:
529:, Mexico City
524:
519:
515:
514:
511:
509:Low Visibility
506:
502:
501:
495:
490:
486:
485:
479:
474:
470:
469:
463:
458:
454:
453:
450:
445:
441:
440:
437:Van Abbemuseum
434:
429:
425:
424:
418:
413:
409:
408:
403:
398:
389:
386:
357:
354:
337:
331:
314:
308:
297:
291:
266:
260:
227:
221:
208:
202:
188:
182:
178:HĂ©lio Oiticica
170:Cildo Meireles
155:
152:
139:
136:
130:(born 1978 in
115:
114:
101:
97:
96:
91:
87:
83:
82:
79:
72:
71:
31:
29:
22:
15:
9:
6:
4:
3:
2:
3191:
3180:
3177:
3175:
3172:
3170:
3167:
3165:
3162:
3160:
3157:
3155:
3152:
3150:
3147:
3145:
3144:Living people
3142:
3140:
3137:
3136:
3134:
3125:
3121:
3119:
3115:
3113:
3109:
3106:
3105:
3085:
3081:
3075:
3061:
3057:
3051:
3043:
3039:
3033:
3019:
3015:
3009:
2995:on 2015-12-22
2994:
2990:
2986:
2980:
2966:
2962:
2956:
2942:
2938:
2932:
2924:
2918:
2910:
2909:"World Event"
2904:
2896:
2892:
2885:
2871:
2867:
2861:
2847:
2843:
2837:
2823:
2819:
2813:
2799:on 2015-12-22
2798:
2794:
2790:
2784:
2770:
2766:
2760:
2746:
2742:
2735:
2721:on 2015-11-20
2720:
2716:
2712:
2706:
2692:
2688:
2682:
2668:
2664:
2658:
2644:on 2015-11-15
2643:
2639:
2635:
2629:
2615:
2611:
2605:
2591:on 2015-12-22
2590:
2586:
2582:
2576:
2562:on 2015-12-22
2561:
2557:
2553:
2547:
2533:
2529:
2523:
2509:on 2015-12-22
2508:
2504:
2500:
2494:
2480:
2476:
2470:
2454:
2450:
2446:
2439:
2431:
2427:
2421:
2406:
2402:
2396:
2381:
2377:
2371:
2356:
2352:
2351:"Soundtracks"
2346:
2331:
2327:
2326:"Double Edge"
2321:
2306:
2302:
2296:
2281:
2277:
2271:
2256:
2252:
2246:
2231:
2227:
2221:
2205:
2201:
2195:
2180:
2176:
2170:
2155:
2151:
2145:
2131:on 2017-10-17
2130:
2126:
2122:
2116:
2102:on 2015-12-22
2101:
2097:
2093:
2087:
2073:
2069:
2063:
2049:
2045:
2039:
2025:on 2015-12-22
2024:
2020:
2016:
2010:
1996:
1992:
1986:
1972:on 2015-12-22
1971:
1967:
1963:
1957:
1949:
1945:
1939:
1925:
1921:
1915:
1901:on 2015-12-22
1900:
1896:
1892:
1886:
1872:on 2015-12-23
1871:
1867:
1866:König Galerie
1863:
1857:
1843:
1839:
1833:
1819:on 2015-12-22
1818:
1814:
1810:
1809:"Amalia Pica"
1804:
1790:on 2015-12-23
1789:
1785:
1784:König Galerie
1781:
1775:
1773:
1758:on 2015-12-08
1757:
1753:
1752:www.criee.org
1749:
1743:
1735:
1731:
1725:
1710:
1706:
1699:
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1683:
1676:
1662:
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1652:
1638:
1634:
1628:
1614:
1610:
1603:
1601:
1586:on 2015-12-22
1585:
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1547:
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1521:
1517:
1511:
1497:
1493:
1487:
1473:
1469:
1463:
1461:
1459:
1450:
1446:
1445:"Amalia Pica"
1440:
1438:
1429:
1425:
1419:
1411:
1407:
1400:
1386:
1382:
1376:
1374:
1358:
1354:
1348:
1346:
1331:
1327:
1326:"Amalia Pica"
1321:
1319:
1304:
1300:
1299:"Amalia Pica"
1294:
1280:
1279:
1274:
1267:
1263:
1255:
1253:
1248:
1246:
1242:
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1234:
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1223:
1208:
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1203:
1200:
1197:
1196:
1192:
1189:
1187:
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1180:
1176:
1173:
1171:
1168:
1165:
1164:
1160:
1157:
1155:
1152:
1149:
1148:
1144:
1141:
1139:
1136:
1133:
1132:
1128:
1125:
1123:
1122:Common Ground
1120:
1117:
1116:
1112:
1108:
1106:
1103:
1100:
1099:
1095:
1092:
1090:
1087:
1084:
1083:
1079:
1076:
1074:
1071:
1068:
1067:
1063:
1060:
1058:
1055:
1052:
1051:
1047:
1043:
1041:
1038:
1035:
1034:
1031:
1027:
1025:
1022:
1019:
1018:
1014:
1011:
1009:
1006:
1003:
1002:
998:
997:Museu Berardo
995:
993:
990:
987:
986:
982:
979:
977:
974:
971:
970:
966:
964:
961:
958:
957:
953:
950:
948:
945:
942:
941:
937:
935:
932:
929:
928:
924:
921:
919:
916:
913:
912:
908:
906:
903:
900:
899:
895:
892:
890:
887:
884:
883:
879:
877:
874:
871:
870:
867:
863:
860:
858:
855:
852:
851:
848:, London, UK
847:
844:
842:
839:
836:
835:
831:
828:
826:
823:
820:
819:
815:
811:
808:
806:
803:
800:
799:
796:, London, UK
795:
792:
790:
787:
784:
783:
779:
776:
774:
771:
768:
767:
763:
759:
757:
754:
751:
750:
747:, London, UK
746:
743:
741:
738:
735:
734:
730:
727:
725:
722:
719:
718:
714:
711:
709:
706:
703:
702:
699:, ZĂŒrich, CH
698:
695:
693:
690:
687:
686:
683:
680:
678:
675:
673:
670:
669:
656:
653:
651:
648:
645:
644:
640:
638:
636:
632:
629:
628:
624:
621:
619:
616:
613:
612:
608:
605:
603:
600:
597:
596:
593:
589:
587:
584:
581:
580:
576:
573:
571:
568:
565:
564:
560:
557:
555:
552:
549:
548:
544:
541:
539:
536:
533:
532:
528:
525:
523:
520:
517:
516:
512:
510:
507:
504:
503:
500:
496:
494:
491:
488:
487:
483:
480:
478:
475:
472:
471:
468:
464:
462:
459:
456:
455:
451:
449:
446:
443:
442:
438:
435:
433:
430:
427:
426:
422:
419:
417:
414:
411:
410:
407:
404:
402:
399:
397:
394:
393:
385:
383:
379:
375:
371:
367:
363:
353:
351:
347:
343:
335:
330:
328:
324:
320:
312:
307:
304:
295:
290:
288:
284:
280:
276:
272:
264:
259:
257:
253:
249:
244:
242:
241:Venn diagrams
237:
233:
225:
220:
218:
214:
206:
201:
198:
194:
186:
181:
179:
175:
171:
167:
166:Victor Grippo
163:
161:
151:
149:
148:Rijksakademie
145:
135:
133:
129:
121:
109:
105:
102:
98:
94:
88:
84:
77:
68:
65:
57:
47:
43:
38:
36:
30:
21:
20:
3124:King's Cross
3117:
3088:. Retrieved
3083:
3074:
3063:. Retrieved
3059:
3050:
3041:
3032:
3021:. Retrieved
3017:
3008:
2997:. Retrieved
2993:the original
2988:
2979:
2968:. Retrieved
2964:
2955:
2944:. Retrieved
2941:www.cifo.org
2940:
2931:
2917:
2903:
2894:
2884:
2873:. Retrieved
2869:
2860:
2849:. Retrieved
2845:
2836:
2825:. Retrieved
2821:
2812:
2801:. Retrieved
2797:the original
2792:
2783:
2772:. Retrieved
2768:
2759:
2748:. Retrieved
2744:
2734:
2723:. Retrieved
2719:the original
2714:
2705:
2694:. Retrieved
2691:www.salts.ch
2690:
2681:
2670:. Retrieved
2666:
2657:
2646:. Retrieved
2642:the original
2637:
2628:
2617:. Retrieved
2613:
2604:
2593:. Retrieved
2589:the original
2584:
2575:
2564:. Retrieved
2560:the original
2555:
2546:
2535:. Retrieved
2531:
2522:
2511:. Retrieved
2507:the original
2502:
2493:
2482:. Retrieved
2478:
2469:
2457:. Retrieved
2453:the original
2448:
2443:Huerta, JF.
2438:
2429:
2420:
2408:. Retrieved
2404:
2395:
2383:. Retrieved
2379:
2370:
2358:. Retrieved
2354:
2345:
2333:. Retrieved
2329:
2320:
2308:. Retrieved
2304:
2295:
2283:. Retrieved
2279:
2270:
2258:. Retrieved
2254:
2245:
2233:. Retrieved
2229:
2220:
2208:. Retrieved
2203:
2194:
2182:. Retrieved
2178:
2169:
2157:. Retrieved
2153:
2144:
2133:. Retrieved
2129:the original
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