Guillermo Kuitca

Museo de Arte Latinoamericano de Buenos Aires (Malba)

Guillermo Kuitca has returned. He’s back after seventeen years of self-imposed absence from the local art scene. Or to be more accurate, his paintings are back, for Kuitca the man never left. What’s striking, with this fresh look, is the work’s quiet urgency. We feel we are being told something of such fundamental importance that we have no choice but to pay close attention. And then, suddenly, as if zooming out, the works take us from the very private arena of a bed to the public map of a city.

Nadie olvida nada (Nobody forgets anything), 1982, opened the retrospective, curated by Sonia Becce and Paulo Herkenhoff, and set the tone for what was to come: a series of paintings of solitary, abysmal beds, with tightly tucked sheets, that cling to flat monochrome backgrounds. As always in Kuitca, and most of all in Siete últimas canciones (Seven last songs), 1987, these works concern the

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