As the Chilean artist's 2022 sculpture and soundscape is installed in Tate Modern's Turbine Hall, we offer a five-point guide to the artist known for her ecofeminist, culturally rich works
Born in 1948, the Chilean artist has been a pioneering voice on climate change, decolonisation and ecofeminism for decades. A poet, author, artist and activist, her work exists at the meeting point between art forms and means of communication. “My work dwells in the not yet, the future potential of the unformed, where sound, weaving, and language interact to create new meanings,” she says.in Tate Modern’s Turbine Hall features two 27-metre-high fabric sculptures and a soundscape.
Cecilia Vicuña has been making work for five decades. She is widely considered to be ahead of her time on the political and cultural issues her work addresses, from feminism to the environment and social justice. For the last half a century she has expressed herself through writing, art making and street protest, publishing over 20 volumes of poetry.
Vicuña went into exile in the 1970s, moving to London then New York during the former president of Chile’s violent dictatorship. This state of exile affected not just Vicuña’s works made during the dictatorship, but her career for many years after. Her ephemeral sculptures and installations capture feelings of transience and many are crafted from found items.
5. Many of her early works were not documented, “they existed only for the memories of a few citizens” In 1966 Vicuña started her long-running series of “precarios”: fleeting sculptures which were exposed to the elements. Many of these were never documented. “They existed only for the memories of a few citizens,” says Vicuña. “History, as a fabric of inclusion and exclusion, did not embrace them.” These works inspired a new piece, created from ropes and other debris found around the sinking city of Venice.
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