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Margarita 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, sculpture, installation and the creation of artists books assembled with drawings, collages and poems. During this period, she began to experiment with her own spiritual and ritual language. (+34) 91 774 1000 Margarita Azurdia next to a sculpture from her series 'Minimalist. -Pierre Teilhard de Chardin, The Phenomenon of Man 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. For the realization of this exhibition, images published by. 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. Canadian, 1868 - 1938, Marie Lannoo Throughout her trajectory, Azurdia produced an extensive body of work that ranged between painting, sculpture, performance, ritual, dance, artist books, collage and poetry. These sculptures reflect Azurdia's anti-establishment and feminist views, through the lens of Central America. In her work she assimilated local culture and discussed gender issues in the context of the Guatemalan civil war (1960-1996). Azurdia's work reflects her feminist and anti-establishment views. Their work is currently being shown at Museo Nacional Centro de Arte Reina Sofa in Madrid. +33 (0)1 55 26 90 29. Two years later, she received an honorary mention in the Tenth So Paulo Biennial for her series Asta 104(1969) large-scale sculptural paintings in her interrogation of the discipline. The exhibition Margarita Azurdia. After its disbandment in 1985, Azurdia continued to explore the paradigm between art and spirit, conducting workshops and exploring in greater depth ideas of care and healing linked to nature and the environment, drifts that would also be reflected in her mature paintings, packed full of disconcerting and spontaneous lines reflecting the regrowth of feelings and memories marking her personal history. Margarita Azurdia. In them, Azurdia reflected on life, pain, hopes, and the mystery of existence. 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. 1967 Geomtricas, Galera DS, Antigua, Guatemala, 1992 Iluminaciones: Veintidos laminas y poesia de la autora (book), 2006 Margarita Rita Rica Dinamita, Centro de Formacin de la Cooperacin Espaola, Antigua, Guatemala, 2008 Margarita Azurdia (19311998), Centro Cultural Metropolitano, Guatemala City. 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. Canadian, 1984, Ursula Johnson Estrecho dudoso. Watch. Azurdia, who actively participated in the debates taking place in Latin America between supporters of the movement known as internationalism and those of new humanism or new figurationled in Guatemala by Grupo Vrtebraconcluded that what was truly revolutionary and transformative in art was to take on a commitment to seek new aesthetics and concepts. 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). Scaled-down reproduction of Abstraccin Geomtrica by Margarita Azurdia (disappeared), 32x24 inches, oil on canvas, 2016. Primarily self-taught, she first became known as an artist under the name Margot Fanjul. The artist Margarita Azurdia is ranked among the Top 100,000 on ArtFacts. 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. TuesdaySunday: 11 a.m.6 p.m. When the group disbanded around 1985, M. Azurdia continued her explorations of sacred dance, everyday ritual, feminine spirituality, and unity with the earth. Jocelyn Taylor This exhibition surveys her career by way of an extensive body of work that includes painting, sculpture, and non-object art, as well as . 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. At the Third Coltejer Art Biennial (1972), her series of mobile marble sculptures stood out for being subject to spectators impulses. 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 installation Por 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. Canadian, 1899 - 1992, G. Scott MacLeod [5], https://en.wikipedia.org/w/index.php?title=Margarita_Azurdia&oldid=1143644855, This page was last edited on 9 March 2023, at 01:05. Back in Guatemala in 1963, her experiences in California prompted her to hold her first exhibitions. The influential Argentine critic Marta Traba extolled her paintings as among the most emblematic examples of art from Central America. In 1968, the Geomtricas series was exhibited at Galera DS in Guatemala City and at Cisneros Gallery in New York. Embedded with indigenous elements and referencing the complex cultural history of Guatemala, these forms exist between abstraction, realism, and Azurdia's own fantasies and imagination. 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. 58th Carnegie International Margarita Azurdia Margarita Azurdia (b. Geometries and sensations:A homage to Margarita Azurdia. Photo. With her presentation of manipulable marble abstract sculptures at the 3rd Bienal de Arte Coltejer in Medelln, Colombia, in 1972, she sought to solicit public participation in her work. Restaurant Hours 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. Por favor quitarse los zapatos (Please take off your shoes), 1970. Between 1971 and 1974 she created Homenaje a Guatemala [Tribute to Guatemala], a group of fifty wood sculptures painted and carved by local artisans, after the artists drawings. Following a divorce and a return to her maiden name in 1974, Azurdia left Guatemala and moved to Paris, where she concentrated on drawing and writing poetry. J, P, and EW. Margarita Azurdia was a Postwar & Contemporary artist who was born in 1931. The influential Argentine critic Marta Traba extolled her paintings as among the most emblematic examples of art from Central America. 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 Art History Projects For Kids Art Projects Art Painting Acrylic Abstract Art Painting Inspiration Art Inspo Name Drawings Tibetan Art Mini Canvas Art Virgin Maria's Garden, 18"x 24" acrylic painting by Julia Kosivchuk A alexbin9087Dragos Margarita Azurdia African Textiles Patterns Fabric Patterns African Pattern Design She also kept working on the ideas of care and healing in relation to nature and the environment, through workshops she ran at the Omega Institute. Numerous key galleries and museums such as Carnegie Museum of Art have featured Margarita Azurdia's work in the past.Margarita Azurdia has been featured in articles for ArtDependence Magazine, Art Nexus and ArtDaily. 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. Gallery Hours 1979) is a New York-based artist born in Kochi, Japan. He decided the names like someone who chooses an outfit with which to camouflage himself while choosing a new identity. We notify you each time your favorite artists feature in an exhibition, auction or the press, Access detailed sales records for over 653,970 artists, and more than two decades of past auction results, Buy unsold paintings, prints and more for the best price. Canadian, Jacqueline Smith During the 1960s Azurdia produced critically acclaimed large-scale abstract paintings, some composed of rhythmic arrangements of parallel lines, others consisting of large, flat fields with geometric and linear patterns in unusual color combinations reflecting indigenous textile designs. 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 1967. Margarita Rita Rica Dinamita is the first monographic exhibition in Europe dedicated to Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998). When autocomplete results are available use up and down arrows to review and enter to select. ___________________________________________________. 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 Azurdia (Antigua, Guatemala, 1931-1998) was Margot Fanjul during her married years, she responded 2023 Archives of Women Artists, Research and Exhibitions. Picasso 1906, The Turning Point, Maquinations, Ben Shahn and Something Else Pres, among Museo Reina Sofas exhibitions in 2023. His group exhibitions includeThe School of Nature and Priciple, The Elizabeth Foundation for the Arts' Project Space, NYC (2015);100 painters of tomorrow,Christie's Ryder Street Gallery, London (2014);Proyectos Ultavioleta presents, Museum of Contemporary Art and Design, Costa Rica (2013);Play with Nature-Played by Nature, Satoshi Koyama Gallery, Tokyo (2013);Kiss the Heart, Isetan Shinjuku, Tokyo (2012)andFuture Primitive, Ma2 Gallery, Tokyo (2010). Courtesy of the artist and Museo Nacional Centro de Arte Reina Sofa Margarita Azurdia. Anabella Acevedo, Rossina Cazali, Cecilia Fajardo-Hill, Emiliano Valds, A publication on art, politics and the public sphere, Collaboration with different agents and international political and cultural collectives, A confederation of artistic internationalism made up of seven European museums, Tel. In the 1990s, Azurdia devoted herself to the study of the role of women in history and religion. TuesdaySunday: 11 a.m.6 p.m. Mena Valenzuela, Rosa, Prieto, Emilia, Tres mujeres, tres memorias : Margarita Azurdia, Emilia Prieto, Rosa Mena Valenzuela, San Jos, TEOR/Tica, 2009, Pellecer Mayora, Mara del Carmen, Una: La historia de Margarita Azurdia, Guatemala City, Tipografa Nacional, 2011, Margarita Azurdia (19311998), Centro Cultural Metropolitano, Guatemala City, 2008, Geometras y Sensaciones: A homage to Margarita Azurdia, New Museum of Contemporary Art, Guatemala City, 2016, Born in Guatemala, Margarita Azurdia was educated in private boarding schools and attended a Catholic high school, Loretto Academy, in Niagara Falls, in Canada. Canadian, 1965, Guy Nutarariaq 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. Azurdia continued to explore the paradigm between art and spirit, giving workshops and delving into the ideas of care and healing linked to nature and . Picasso 1906, The Turning Point, Maquinations, Ben Shahn and Something Else Pres, among Museo Reina Sofas exhibitions in 2023. Daz Bringas, Tamara, and Virginia Perez-Ratton. Canadian, 1982, Museo Nacional Centro de Arte Reina Sofa, Margarita Azurdia at Museo Nacional Centro De Arte Reina Sofa, Margarita Azurdia: Margarita Rita Rica Dinamita, Radical Women Latin American Art, 19601985, Margarita Azurdia. Canadian, 1937, Michelle Hoogveld She also took contemporary dance classes. 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. 2018. Numerous key galleries and museums such as Carnegie Museum of Art have featured Margarita Azurdia's work in the past. In 1982 she returned to Guatemala and founded an experimental performance group, Laboratorio de Creatividad, which included the artists Benjamn Herrarte, Marta Olga Herrarte, Lucrecia Herrera, Fernando Iturbde, Mara del Carmen Pellecer Mayora, and Marie Joe Rochas. Throughout her trajectory, Azurdia produced an extensive body of work that ranged between painting, sculpture, performance, ritual, dance, artist books, collage and poetry. Akin to other Latin American artists working at that time, and in line with formal and conceptual concerns internationally, Azurdias interests turned to actively integrating the public into her works. Her first solo exhibition, in 1963, set the tone for her career as a constant, irreverent experimenter. Browse map, Some rights reserved. In addition to becoming immersed in contemporary dance, Azurdia focused on writing and illustrating several of her artists books. Courtesy of Milagro de Amor, legacy of the artist.He decided the names like someone. The exhibition Margarita Azurdia.Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998), one of the twentieth century's most emblematic Central American artists.Retrospectively, the exhibition opens an in-depth view of the modern and contemporary art landscape in Guatemala and prompts an exploration of . Canadian, 1981, Katherine Muir Miller Haroldo Paranhos. In 1966, she developed her series of "Objetos sensoriais" ("Sensorial objects"), using ready-made items like tubes, burlap sacks, plastic bags, pebbles, and spices. Autobiographical in nature, the series revisits childhood moments and family ties, as well as domestic environments and periods of illness. [1] Through this group, Azurdia explored the notions of ritual in everyday life, space, and time through the medium of dance. Skip to Content Skip to Footer . Inspired by Maya textiles, these paintings were a turning point for modern art in Guatemala. 38-39, were utilized as reference. Pellecer Mayora, Mara del Carmen. Biography 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. The artist died in 1998. In the mid-1960s she began the Geomtricas (Geometric Paintings) series: large paintings with graphic designs based on diamonds, lines, and contrasting planes of colours that create a certain optical effect. Among them was Rencontres, made up of three sections and twenty-five drawings incorporating French titles associated with her experiences in Paris. [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. 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. Margarita Azurdia, The Coming of the Goddess, 1970-1974, wood with polychrome and plaster with feathers, twine and horsehair, 124.46 x 137.16 x 27.94 cm, Five Colleges and Historic Deerfield Museum Consortium Margarita Azurdia, Untitled, ca. (+34) 91 774 1000 Azurdias first performance, Favor quitarse los zapatos [Please take off your shoes, 1970], presented at the 2nd Bienal de Arte Coltejer, tested the possibilities of integrating the body of the public into the work, exploring sensorial capacities other than vision and expanding psychological awareness.. Guatemala City: Departamento de Artes Plasticas de la Direccion General de Cultura y Bellas Artes de Guatemala, 1969. Margarita Azurdia. In 1962 Azurdia exhibited her first painting, a self-portrait. 4400 Forbes Avenue Pittsburgh, PA 15213 412.622.3131. (+34) 91 774 1000 . As well as becoming fascinated by drawing and dance, she concentrated on writing and illustrating several of her books. 2017. The book includes 10 reproductions of her paintings in full color. The replicas have been reproduced with oil on canvas, and have similar dimensions to a small group of geometric abstractions of smaller scale that Azurdia created in the late sixties. Canadian, 1954, Walter James Baber Canadian, Blake Senini [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. Recourat, Edith. In 1974, she moved to Paris, the epicentre of a veritable revolution of ideas, where she became involved in women artists circles and was encouraged to trace a watershed in her own conceptions as a woman and artist. M. Azurdias series Asta 104 received an honorary mention at the 10th Bienal de So Paulo in 1969 and signaled the artists lifelong search for the identity of human beings in the cosmos. Margarita Azurdia (born April 17, 1931 in Antigua, Guatemala, died July 1, 1998 in Guatemala City, Guatemala), 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.[1][2]. Canadian, 1856 - 1924, Markiana Boyechko He was also selected as one of the artist member of100 Painters of Tomorrowby Beers Contemporary and Thames & Hudson in 2014. Azurdia died in 1998. and hating art shows. Margarita Rita Rica Dinamita The exhibition Margarita Azurdia. Whether she was Margot Fanjul, Una Soledad, Margarita Rita Rica Dinamita, or Margarita Anastasia, her chameleonic nature caused her to be swallowed up in the Latin American art world, but it also allowed her to re-emerge later as one of the most interesting artists in Guatemalas small art scene. As a homage to one of the most important artists in guatemalan art history, NuMu presented scaled-down reproductions of two paintings by Margarita Azurdia from the series Geometric Abstractions (1967-68), which are currently missing. ]org 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. Get Maps and Directions. She returned to Guatemala and married Carlos Fanjul when she was twenty years old. Her first solo exhibition, in 1963, set the tone for her career as a constant, irreverent experimenter. Azurdia's art often reflected the Guatemalan culture, was critically acclaimed, and is in museums and private collections throughout the world. The result is highly sophisticated artwork for its time, which oscillates perfectly between the Mayan Cosmovision and international geometric abstraction. Their work was featured in an exhibition at the Brooklyn Museum of Art. 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. 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. Margarita Azurdia. 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. Museo Reina Sofia opens the first monographic exhibition in Europe of Margarita Azurdia, Margarita Azurdia. Radical Women Latin American Art, 1960-1985 ,Brooklyn Museum of Art ,Brooklyn, New York, USA. She also took contemporary dance classes. Two years later, she received an honorary mention in the Tenth So Paulo Biennial for her series Asta (1969) large-scale sculptural paintings in her interrogation of the discipline. Margarita Azurdia, Margarita Rita Rica Dinamita, 2022, exhibition view, Museo Nacional Centro de Arte Reina Sofa, Madrid, Margarita Azurdia, Altar I, 1998, wardrove with objects, 225 x 106 x 46 cm, courtesy of Milagro de Amor, Margarita Azurdia, Angel, 1992, Acrylic on canvas, courtesy of Milagro de Amor, Unknown photographer, The Mother Goddess of Creation: Principles of Sacred Dance Ritual Dance at Margarita Azurdias studio-house, 1971-1974, print on photographic paper, courtesy of Milagro de Amor, Margarita Azurdia, La cargadora de platanos amarillos (women transporting yellow bananas), 1971-1974, courtesy of Milagro de Amor, Margarita Azurdia, Las guerrilleras (muejeres en armas) [The Guerrillas (Women in Arms), 1974-1974, courtesy of Milagro de Amor, Margarita Azurdia, Untitled (valos series), c. 1963, courtesy of Milagro de Amor, Margarita Azurdia, untitled, 1960-1970, Fundacin Museo Reina Sofa, all images are copyrighted. Aside from her extraordinary plastic explorations, her most significant contribution was to push her art into a quest for sensorial spaces that make self-knowledge and liberation possible. Exhibition title: Margarita Rita Rica Dinamita, Venue: Museo Nacional Centro de Arte Reina Sofa, Madrid, Spain, Photography: all images are copyrighted. Calle Santa Isabel, 52 28012 Madrid In 1962 Azurdia exhibited her first painting, a self-portrait. Margarita Rita Rica Dinamita. Through a retrospective gaze, this publication offers an insight into the artists unorthodox poetic and visual universe, demonstrating how she managed to organically fuse languages of modernity with elements tied to indigenous cultures from her native country. 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 the late 1960s and early 1970s, Azurdia achieved some international renown. Some of her work is included in the permanent collection of the National Museum of Modern Art, Guatemala. Exhibition Information Sheet: Margarita Azurdia. Spatially, the drawings explore the small city of Antigua Guatemala around 1930-1940, and include references to her time in Paris. TEOR/tica in the catalogue Tres Mujeres, Tres Memorias, 2009, pgs. After the group disbanded in 1985, Azurdia continued to explore relationship between art and spirit. 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. The exhibition Margarita Azurdia. Margarita Rita Rica Dinamita is the first monographic exhibition in Europe of Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998). In 1982 she returned to Guatemala and founded an experimental performance group, Laboratorio de Creatividad, which included the artists Benjamin Herrarte, Marta Olga Herrarte, Lucrecia Herrera, Fernando Iturbde, Maria del Carmen Pellecer Mayora and Marie Joe Rochas. Courtesy of Milagro de Amor, legacy of the artist. Watch 1,000+ talks, performances, artist profiles, and more. 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. HAMMER MUSEUM Touch device users, explore by touch or with swipe gestures. View upcoming auction estimates and receive personalized email alerts for the artists you follow. With her presentation of manipulable marble abstract sculptures at the 3rd Bienal de Arte Coltejer in Medelln, in Colombia, in 1972, she sought to solicit public participation in her work. Guatemala City: Tipografa Nacional, 2011. Born in 1931 in Antigua, Guatemala, Margarita Azurdia was educated in private boarding schools and attended a Catholic high school, Loretto Academy, in Niagara Falls, Canada. Between 1971 and 1974 she created Homenaje a Guatemala (Tribute to Guatemala), a group of fifty wood sculptures painted and carved by local artisans, after the artist's drawings. She returned to Guatemala and married Carlos Fanjul when she was twenty years old. 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. 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. August 18 - November 19, 2018. Canadian, Laurel Cormack Canadian, Marc-Antoine K. Phaneuf info[at]aware-art[. 24 November 2022 - 17 April 2023 Margarita Azurdia Margarita Rita Rica Dinamita 10 November 2022 - 2 October 2023 An Act of Seeing that Unfolds The Susana and Ricardo Steinbruch Collection 21 October 2022 - 16 May 2023 Manolo Quejido Immeasurable Distance 7 October 2022 - 9 April 2023 Pauline Boudry / Renate Lorenz Glass is my skin Future The exhibition Margarita Azurdia.Margarita Rita Rica Dinamita is the first European retrospective devoted to Margarita Azurdia (Antigua Guatemala, 1931 - Guatemala City, 1998), one of the twentieth century's most emblematic Central American artists.The survey delves into her career, journeying through her vast output, which spans painting, sculpture, non .

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