Jenna Gribbon, April studio, parting glance, 2021. Clemencia Lucena is known for two distinct bodies of work: her feminist parodies of women in beauty pageants and other gendered rituals, and her overtly Marxist representational paintings illustrating class struggle. Introduce tus datos o haz clic en un icono para iniciar sesin: Ests comentando usando tu cuenta de WordPress.com. In 1934, Torres-Garca returned to Uruguay and fully embraced Constructive Universalism, combining the structured grids of abstraction he had seen in Europe with symbolic characters alluding to pre-Columbian thought systems. Beginning in 1982, she served as a professor at Carnegie Mellon University in Pittsburgh, where she would remain for 17 years. -Pierre Teilhard de Chardin, The Phenomenon of Man Margarita Rita Rica Dinamita' is the first monographic exhibition in Europe dedicated to the Guatemalan artist, a key figure in Central American culture in the 20th century. Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998), one of the twentieth centurys most emblematic Central American artists. His transgressive spirit was pierced by the currents that he discovered in the places and times that he inhabited, but especially by the history and culture of Guatemala. Established in New York in 1977, the institute had become a countercultural hub for the study of Buddhism and philosophies that foster mind-body connections, contributing to spreading a new global spirituality. The sculptures were carved by local artisans to her specifications, and incorporated ornamental figuresplaster skulls, masks, feathers, pedestal tablesthat Azurdia collected from local artisans" stalls. Utilizing graphic, accessible, representational imagery informed by her background in printmaking, Donosos work addressed the public directly. Mendieta spent part of her childhood in an Iowan orphanage, and eventually pursued an education in art at the University of Iowa. This publication includes an essay by Rosina Cazali and images courtesy of Milagro de Amor, S.A. Margarita Azurdia (Guatemala, 1931-1998), also known as Margot Fanjul, Margarita Rita Rica Dinamita y Anastasia Margarita, lived ahead of her time. The paintings from the series Donoso believed in the revolutionary potential of art when situated in public spaces. Venezuela was in the beginning stages of a repressive military dictatorship, and Pariss vanguard circles offered an enticing promise of artistic freedom and innovationin particular, Cubism. Two years later, she received an honorary mention in the Tenth So Paulo Biennial for her seriesAsta 104(1969) large-scale sculptural paintings in her interrogation of the discipline. These intricate assemblages recall the altars of the peoples of the Guatemalan highlands, with an emphasis on the cultural and religious syncretism resulting from the countrys complex history. It implies storied history, reach, and effect. WebThe exhibition Margarita Azurdia. As part of the exhibitions public program, NuMu headstarted a long-term oral history project, by engaging in a series of interviews with people who, in one way or another, knew and spent time with Margarita Azurdia. The exhibition also looks at Margaret Azurdias last works, produced in 1998, the year of her death: two wardrobealtars which she signed Margarita Anastasia in memory of the slave Escrava Anastacia, a folk saint venerated in Brazil. That same year, the National Arts Club in New York City presented him with a lifetime achievement award. Margarita Azurdia. Margarita Azurdia made experimental works that explored gender and mythological icons during the Guatemalan Civil War (19601996). Bernis representational, large-scale paintings highlighted the diversity of the Pan-American vision. The exhibitionMargarita Azurdia. Back in Guatemala in 1963, her experiences in California prompted her to hold her first exhibitions. Available for both RF and RM licensing. Prabook is a registered trademark of World Biographical Encyclopedia, Inc. Margarita Azurdia, who also worked under the pseudonyms Margot Fanjul, Margarita Rita Rica Dinamita, and Anastasia Margarita, was a feminist Guatemalan sculptor, painter, poet, and performance artist. Calle Santa Isabel, 52 28012 Madrid Suscrbete para recibirnoticias del NuMu, What we should note and take into account, because it has its consequences even in the Genesis of Spirit, is the indisputable relationship that genetically associates the atom to the star. In 1973, following Pinochets coup dtat in Chile, Donoso was fired from teaching graphic arts at the Universidad de Chile, presumably for her oppositional political beliefs. WebMargarita Azurdia was a key figure in the vibrant art scene that surfaced in Guatemala in the mid-1960s, her extensive output spanning painting and experimental dance, During this period, she began to experiment with her own spiritual and ritual language. Together, they founded an experimental dance group called Laboratorio de Creatividad, which became a vehicle for their interest in movement, the origins of ritual, and sacred dance. The Most Influential Latin American Artists of the 20th Century Influential is a difficult term. [3] In 1982, she was a founder of the group Laboratory of Creativity (Laboratorio de Creatividad) that experimented with performance art in public spaces, theater cafes, art galleries, and museums. It feels as though the important contributions of artists from Latin America are siphoned into an outdated silo of specialized knowledge. WebIn 1962 Azurdia exhibited her first painting, a self-portrait. In the 1930s, he developed his theory of Constructive Universalism, the belief that art should reflect geometric purity as well as symbolic content. Born into a family of coffee plantation owners in So Paulo, do Amaral traveled to France in the early 1920s, where she studied Cubism with renowned painters like Fernand Lger and Andr Lhote. Azurdia"s work reflects her feminist and anti-establishment views. Feliciano Centurins textile works from the 1980s and 90s cement his artwork in global queer discourse, emphasizing themes of love, decay, vulnerability, and compassion. WebBetween 1971 and 1974, Margarita Azurdia produced the emblematic group of sculptures known as Homenaje a Guatemala (Homage to Guatemala), which again emphasises the constant dialogue between her work and its surroundings. 38-39, were utilized as reference. Margarita Rita Rica Dinamita. The ovala recurring shape in Azurdias early workreappears in this series, linked to cosmology and to the place of humans in the cosmos. WebMargarita Azurdia. Margarita Azurdia, Qutese los zapatos por favor , 1970. In her work she assimilated local culture and discussed gender issues in the context of the Guatemalan civil war (19601996). WebAzurdia also participated in the biennials of So Paulo and Medellin. Ironically, Picassos fascination with so-called primitive cultures encouraged Lam to incorporate his own Caribbean cultural background in his work, albeit with an acute understanding of cultural hierarchies perpetuated by the European avant-garde. Torres-Garca is credited with the establishment of a new political and aesthetic order in the region, fusing transatlantic discourses. In the 1990s, Azurdia devoted herself to the study of the role of women in history and religion. WebIn 1962 Azurdia exhibited her first painting, a self-portrait. Her colorful and vibrant compositions are the result of an abstraction process based on guatemalan mayan huipiles, from weaving to painting. Margarita Rita Rica Dinamitais the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 Guatemala City, 1998), one of the twentieth centurys most emblematic Central American artists. As well as becoming fascinated by drawing and dance, she concentrated on writing and illustrating several of her books. Sn ttulo, 1960-1970. She performed various rituals in the company of other women, such asCeremonia de amor a la diosa Gaia(Love Ceremony to the Goddess Gaia), held in 1994 as part of the exhibitionIndagaciones(Inquiries) at Sol del Ro gallery, andPuente de luz(Bridge of Light), a ritual carried out at the Kaminal Juy archaeological site in 1995. document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Introduce tu correo electrnico para suscribirte a este blog y recibir avisos de nuevas entradas. Soto began to work alongside artists like Jean Tinguely and Victor Vasarely, as well as with the New Realism artistic movement. WebFind the perfect margarita azurdia exhibition stock photo, image, vector, illustration or 360 image. She co-founded the Taller de Artes Visuales in Santiago, which produced some of the most forward-thinking political art and criticism of 1970s Chile. Around that time, the internal armed conflict in Guatemala established Cold War dynamics that gradually began to restrict freedom of expression and fuel the repression of dissidents and intellectuals. Their work was featured in an exhibition at the Brooklyn Museum of Art. The survey delves into her career, journeying through her vast output, which spans painting, sculpture, non-objectual art and artists books drafted with drawings, collages and poems. In his work, the ocean served as a metaphor for the dramas between humans (slavery, colonialism, poverty), as well as the dramas between humans and nature (pollution, species extinction, and rising sea levels). [2] In the 1960s, Azurdia publicly opposed neofigurativism (neofigurativismo), an art movement promoted by a group of male artists known as Grupo Vertebra, and was responsible for starting a new art movement known as new conceptual abstraction (nuevo abstraccionismo conceptual)[2], In 1962 Azurdia exhibited her first painting, a self-portrait. Venue: Museo Nacional Centro de Arte Reina Sofa (Palacio de Cristal). After studying visual arts at the Universidad de Chile, in 1938, Garafulic traveled to Paris, where she met the sculptor Constantin Brancusi, whose work would remain a lifelong influence on her practice. Azurdia originally commissioned local artisans specialising in traditional woodwork and religious icons to create fifty wood carvings based on their interpretations of her drawings and instructions. In 1928, do Amarals art was the centerpiece of the Manifesto Antropfago, which called for cultural cannibalismencouraging a Brazilian art form that ate and digested diverse artistic traditions and transposed them into a new, Brazilian context. Although he was born into a wealthy family, Siqueiros became involved in the ideologies of the Mexican Revolution. In 1968, theGeomtricasseries was exhibited at Galera DS in Guatemala City and at Cisneros Gallery in New York. In 1962 Azurdia exhibited her first painting, a self-portrait. Berni began to develop his own works through the lens of new realism, or the belief that art should truthfully reflect the social realities of the working classes. Azurdia also participated in the biennials of So Paulo and Medellin. Margarita Azurdia was a Postwar & Contemporary artist who was born in 1931. As an artist from Japan, where ancient animism and leading technologies merge, Ikezoe creates works in diverse disciplines, including drawing, painting, video and performance, in relation to the balance betweenthe forces we think of asoutsideorbeforeourselves, and the civilizing of ourselves. [2], In 2016, the Nuevo Museo de Arte Contemporneo (NuMu), the only contemporary art museum in Guatemala,[4] created an exhibit of scaled-down reproductions of two of Azurdia's "Geometric Abstractions" paintings.[5]. The strength of Capellns work was in addressing the sociopolitical histories of the Caribbean, as well as the burgeoning environmental urgencies of global climate change. He was also selected as one of the artist member of100 Painters of Tomorrowby Beers Contemporary and Thames & Hudson in 2014. For instance, at the Second Coltejer Art Biennial in 1970, held in Medelln, the artist left behind her predominantly pictorial work and adhered more to the spirit of the times with the installationPor favor quitarse los zapatos(Please Take Off Your Shoes), created specifically for the event, whereby she invited viewers to delve into a place of sensorial experimentation through performative and interactive elements. Group Exhibitions. At the Third Coltejer Art Biennial (1972), her series of mobile marble sculptures stood out for being subject to spectators impulses. Courtesy of Milagro de Amor, legacy of the artist. Margarita Rita Rica Dinamita is the first monographic exhibition in Europe of Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998), one of the key Central American artists of the 20th century. Three of these pieces, unified under the title El rito (The Rite), were exhibited at the Twelfth So Paulo Biennial and are sculptures which exhibit one of the artists most radical transformations, opening the way to new modes of expression. Akira Ikezoe(b. In 1970, three of these works were shown at the third Saln Independiente in Mexico. Artist: Margarita Azurdia Exhibition title: Margarita Rita Rica Dinamita Curated by: Rossina Cazali Venue: Museo Nacional Centro de Arte Reina Sofa, Madrid, From the mid-1960s to the beginning of the decade that followed, Azurdia made incursions into geometric forms inspired by Indigenous textile designs from Guatemala, applying them chiefly to painting her series Geomtricas (Geometric Paintings) went on show at Galera DS in Guatemala City in 1968. Retrospectively, the exhibition opens an in-depth view of the modern and contemporary art landscape in Guatemala and prompts an exploration of the artists creative metamorphosis between 1960 and the mid-1990s, reflected, moreover, in the numerous name changes with which she signed her works. In 1970, three of these works were shown at the third Saln Independiente in Mexico. Like many female artists throughout Latin America in the 20th century, Garafulic balanced various roles simultaneously: groundbreaking visual artist, educator, and public arts steward. Margarita Azurdia studied at the Escuela Nacional de Artes Plsticas, and at McGill University of Liberal Arts-College Margarita Burgeois, of San Francisco, California. After the group disbanded in 1985, Azurdia continued to explore relationship between art and spirit. Following her return to Peru in 1966, she served as director of Teatro y Danzas Negras del Per and the Conjunto Nacional de Folkloretraveling and performing extensively throughout the region, as well as the United States, Canada, and Europe. 2017. The use of the banana motif is a reference to the countrys troubled relationship with the United Fruit Company and the iconic novels of Miguel ngel Asturiass Banana Trilogy. His family was exiled to a town on the border of Paraguay and Argentina. To Douse the Devil for a Ducat, 2015. Margarita Azurdia. This list of artists reveals that many of the groundbreaking, influential artists from Latin America in the 20th century were not tethered to the region but, in fact, incredibly global. Taking a retrospective approach, the exhibition offers an insight into Guatemalas modern and contemporary art landscape and invites us to explore Margarita Azurdias creative metamorphosis, as reflected in the many names under which she produced her works. Within this list, I am most excited to share the artists that shaped their own spheres of influenceindependent of emerging trends in Europe and North Americawho are perhaps less well-known in the canon. Once logged in, you can add biography in the database. At the same time, the prominence of women in Azurdias work should not be overlooked, with female figures portrayed as heroines and mighty warriors. She presented a group of oil paintings with a limited palette that looked to American Expressionism and Informalism, and a series of concentric oval-shaped paintings in contrasting colors. In doing so, Ikezoe researched Azurdias visual methodology, and relied on images found in the catalogue Tres Mujeres, Tres Memorias: Margarita Azurdia, Emilia Prieto y Rosa Mena Valenzuela (TEOR/Tica, 2009). While in Paris, she also began a series of drawings entitledRecuerdos de Antigua(Memories of Antigua, 1976-1992), an introspective journey through the folds of memory and a therapeutic process that allowed her to let go of traumatic experiences from the past. Spatially, the drawings explore the small city of Antigua Guatemala around 1930-1940, and include references to her time in Paris. Margarita Azurdia. In 1929, do Amarals family lost their fortune, and in 1931, she traveled to the Soviet Union. WebMargarita Azurdia (b. Informacin y programacin de exposiciones, coleccin, actividades y proyectos de Like other Latin American artists working at the time, and in keeping with formal and conceptual developments in the international art world, Azurdia became interested in actively incorporating the public in her works. Enterprise. Her work is on show at the National Museum of Modern Art in Guatemala. There, he studied art, and was eventually appointed lead designer of the department of ethnographic drawings at the National Museum of Archeology. Cambiar), Ests comentando usando tu cuenta de Facebook. In 1977, Dias traveled to Nepal and India, where he experimented with paper-making, and in the 1980s and 90s, he taught in Germany and Austria, leaning into abstraction in his work. (Phrase selected by Margarita Azurdia -then known as Margot Fanjul- written by the great French philosopher, to be used as an exergue for her exhibition of geometric paintings at the DS Gallery in Guatemala in 1968.) Donosos first and only solo exhibition was in 1976 at the Instituto Chileno Francs. Get the best price for your artwork or collection. In the 1960s, following her studies at the Escuela de Bellas Artes, Universidad de Chile, Donoso became involved with a group of mural painters supporting Salvador Allende from the Socialist Party, who became president in 1970. Cambiar). A transcultural aesthetic scholar, juxtaposing styles and influences from various global traditions, Lam is perhaps the most syncretic artist of the 20th century. He is considered the most political of the three great Mexican muralists, due to his dedication and commitment to his cause through public art. She presented a group of oil paintings with a limited palette that looked to American Expressionism and Informalism, and a series of concentric oval-shaped paintings in contrasting colors. Reflecting the spirit of the times, at the II Bienal de Arte Coltejer (1970) in Medelln she presentedPor favor quitarse los zapatos(Please take off your shoes), an installation created specifically for the occasion in which visitors were invited to surrender to a sensory experience. Lucena turned to the issues of the working class, adopting a radical Marxist praxis in her politics and social realism in her artwork. In Downtown Los Angeles, Siqueiros painted Amrica Tropical (1932), which was almost immediately painted over due to its controversial subject matter: a crucified indigenous man beneath an American eagle. Born to a family of prominent Black intellectuals, Victoria Santa Cruz was an Afro-Peruvian choreographer, composer, dramatist, and educator. His solo exhibitions includeel fin del este coincide con el fin del sur,Proyectos Ultravioleta, Guatemala City (2015);Drawing,Ise Cultural Foundation, NYC (2012);Repeater, Sanagi Fine Arts, Tokyo (2010) andEphemeral Garden, Esso Gallery, NYC (2009). https://en.wikipedia.org/w/index.php?title=Margarita_Azurdia&oldid=1138200068, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 8 February 2023, at 14:40. Why do currents of history from certain regions get left out of mainstream scholarship, pushed aside to the periphery? His Note on the Unforeseen Death (1965) contains imagery of military uniforms, atomic mushroom clouds, gas masks, and human skulls. In addition to becoming immersed in contemporary dance, Azurdia focused on writing and illustrating several of her artists books. Many of Tamayos paintings are located in Mexico Citys Museo Rufino Tamayo, which was founded in 1981, 10 years before the artists death. From 1971 to 1974, Azurdia made an emblematic series of sculptures known as Homenaje a Guatemala (Homage to Guatemala), made up of fifty wood carvings commissioned to artisans specialised in religious figures, resulting in a set of assemblages with artisan objects, zoomorphic figures and women wearing boots, rifles and tropical fruit evoking the altars of the altiplano towns in Guatemala and referencing the cultural and religious syncretism imbuing the complex history of Guatemala. In 1968, she created a series of minimalist sculptures that encouraged public participation, consisting of large-scale, cylindrical, and curved structures, which the public was invited to lie down on. The survey delves into her career, journeying through her vast output, which spans painting, sculpture, non-objectual art and artists books drafted with drawings, collages and poems. Between 1971 and 1974, Margarita Azurdia produced the emblematic group of sculptures known as Homenaje a Guatemala (Homage to Guatemala), which again In 1969, she received an honourable mention at the X Bienal de So Paulo for the series Asta 104, consisting of five large sculptural paintings entitled tomo (Atom), Ttem (Totem), Trptico (Triptych), Lotus, and Personna. Throughout her trajectory, Azurdia produced an extensive body of work that ranged between painting, sculpture, performance, ritual, dance, artist books, collage and poetry. Until the end of her life, Clarks work engaged participants in active sensorial and relational experiments. (Salir/ Born to a wealthy family in Coyoacn, Mexico City, Kahlo was introduced to art at an early age through her fathers photography. Radical Women Latin American Art, 19601985 ,Brooklyn Museum of Art ,Brooklyn, New York, USA. Margarita Rita Rica Dinamita. Nevertheless, amidst the tensions and uncertainties of this society in crisis, Guatemala City began to develop into an important hub for artists, gallerists, intellectuals, and art lovers. Berni was born and raised by Italian immigrants, and was able to study painting. NextGenerationEU, Plan de Recuperacin, Transformacin y Resiliencia, Ministerio de Educacin, Cultura y Deporte, Portal de Transparencia | Gobierno de Espaa, Donations and long term loans at the Museo Reina Sofia. Although she produced most of her work in Guatemala, she received an honorable mention at the II Biennale in Sao Paulo, Brazil, in 1969, participated in the II Coltejer Art Biennale in Medelln, Colombia, in 1970, and presented her work in various exhibitions in Guatemala, the United States and France. One of Kahlos last paintings prior to her untimely death in 1954 is titled Marxism Will Give Health to the Sick (1954), in which she depicted her own body donning one of her iconic long skirts and a leather corset. Margarita Azurdia (Antigua, Guatemala, Autobiographical in nature, the series revisits childhood moments and family ties, as well as domestic environments and periods of illness. After majoring in printmaking and graduating from Tama Art University in 2003, he received the Tomio Koyama Gallery Prize and Naruyama Gallery Prize at GEISAI #10 in 2006 and the 1800 Tequila Award at ZONA MACO in 2015. Margarita Azurdia. This exhibition surveys her career by way of an extensive body of work that includes painting, sculpture, and non-object art, as well as artists books made from drawings, collages, and poems. Antonio Diass works rebelled against Brazils military dictatorship from the 1960s to 1980s. The series of paintings on paper and collages Recuerdos del planeta Tierra (Memories of Planet Earth), dating from the same period, takes a holistic and nostalgic approach to womens historical relationship with nature and the planet through the Goddess Gaia and the Mother Goddess, which were key aspects of her work in her last period. Your email address will not be published. Museo Nacional Centro de Arte Reina Sofa, Margarita Azurdia: Margarita Rita Rica Dinamita, Radical Women Latin American Art, 19601985, Margarita Azurdia at Museo Nacional Centro De Arte Reina Sofa, Margarita Azurdia. Inspired by Maya textiles, these paintings were a turning point for modern art in Guatemala. The paintings from the series She then adorned the resulting sculptures with the profuse ornamentation typical of local handicrafts, such as clay skulls and fruit, feathers, animal skins, and masks. At the same time, the prominence of women in Azurdias work should not be overlooked, with female figures portrayed as heroines and mighty warriors. Upon her return to Guatemala in 1982, she met artists Benjamn Herrarte and Fernando Iturbide, with whom she formed the experimental dance group Laboratorio de Creatividad, channelling her concerns by exploring movement, the origins of ritual and sacred dance. Beginning in the 1920s, Tamayo traveled to New York, where he would remain for years, inspired by the artistic experimentation that he believed was being stifled back in Mexico. This project seeks to extend and disseminate the information available on Margarita Azurdia, as well as the access to art and Guatemalas cultural heritage in general. WebMargarita Azurdia (born 1931 Antigua, Guatemala- 1998) Margarita Azurdia was a painter, sculptor, poet, dancer, performance artist who was a lifelong experimenter. In 1955, he participated in the exhibition Le Mouvement at Galerie Denise Ren in Paris, which spurred the development of kinetic art globally. Por favor quitarse los She traveled to Paris in 1974, where she resided until 1982 and worked alongside other feminist artists. Clarks Bichos (Critters) engaged the viewerrequiring that they manipulate the work with their own hands to activate it. 2018. She also presented her work in collective and individual shows in Mexico, the United States, France, and Central America.Some of her work is included in the permanent collection of the National Museum of Modern Art, Guatemala. Autobiographical in nature, the series revisits childhood moments and family ties, as well as domestic environments and periods of illness. Centurin was raised primarily by the women in his family while coming of age as a gay man in a conservative society. In 1943, Torres-Garca illustrated this concept in Amrica Invertida (Inverted America), a drawing that depicts South America upside down, with the equator line as a visual marker. In Ikezoes works, the human figure is presented as his alter ego and woven into a metaphysical and mythological context that depicts a timeless melting point between human and natural boundaries. Three of these pieces, unified under the titleEl rito(The Rite), were exhibited at the Twelfth So Paulo Biennial and are sculptures which exhibit one of the artists most radical transformations, opening the way to new modes of expression. TEOR/tica in the catalogue Tres Mujeres, Tres Memorias, 2009, pgs. Azurdia began her self-taught artistic career in the early 1960s, painting large-scale geometric abstractions that borrowed from indigenous textile traditions, like designs from Mayan huipiles. El encuentro de Una Soledad (An Encounter with Solitude), included in a group exhibition organised by the Au Lieu dimages gallery in Paris in 1979, 27 apuntes de Margarita Rita Rica Dinamita (27 Notes by Margarita Rita Rica Dinamita, 1979), Des flashbacks de la vie de Margarita par elle mme (1980) and 26 anotaciones de Margarita Azurdia (26 Notes by Margarita Azurdia, 1981) are other examples of artists books from this period, in which Azurdia plays with words, humour, and often discordant rhythms. Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 In the 1990s, Capelln exhibited widely, and continued working until his death in 2017. These altars modified with her own drawings as well as photographs, posters, musical instruments and pottery from her rituals and dances, arranged around a deity, are the best compilation of her explorations: an artistic and personal evolution that allowed her to understand the flow of life. The book, with its restrained, simple drawings, was presented at the French women writers association Elles tournent la page. Required fields are marked *. View upcoming auction estimates and receive personalized email alerts for the artists you follow. Radical Women: Latin American Art, August 18 November 19, 2018. [3] The sculptures depict women carrying firearms, babies riding on crocodiles, and tigers transporting bananas, images reminiscent of the magic realism from Latin American literature. (Salir/ In a small, darkened room, Azurdia placed uneven mounds of wet sand, inviting the public to traverse the terrain beneath their bare feet. Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998), one of the twentieth centurys most emblematic Central American artists.