Marta Chilindron - Recent Works 2004 Spring

Marta Chilindron - Recent Works

Chilindron's transparent interactive forms can be read as sculpture or as two-dimensional drawings.

Tatiana Flores Review - Courtesy of Art Nexus Magazine, Number 54, Volume 3, 2004

Marta Chilindron

b. 1951, La Plata, Argentina – lives in New York City since 1969

From her early veristic paintings to her contemporary sculptural installations, Marta Chilindron has created art which explores perspectival, temporal, and spatial relationships. In the 1990s, Chilindron began experimenting with furniture forms, altering their shapes to reflect her point of view in relation to physical space. In 1998/2000 the artist began making collapsible, geometric sculptures in transparent colored acrylics, using hinges to allow movement. These pieces entreat the viewer to manipulate and change their shape.

In 2010, Chilindron was invited to create a public installation as part of the Fokus Lodz Biennale in Poland, and her sculptures were featured as a special project at the Museum of Latin American Art (MoLAA) in Long Beach, California in 2013. The artist had a retrospective exhibition at New York University's Institute of Fine Arts in 2014, and at Point of Contact Gallery at Syracuse University in 2018. Chilindron is currently working on Houston Mobius, a large-scale sculpture commissioned by the University of Houston for the inauguration of their Temporary Public Art Program. She has been invited by El Museo del Barrio to be part of their "Diálogos" section at New York’s 2019 Frieze Art Fair.

Chilindron's artworks are included in the collections of the Museum of Fine Arts Houston, TX; the Blanton Museum of Art, Austin, TX; the Phoenix Art Museum, AZ; El Museo del Barrio, NYC; the Cisneros Fontanals Art Foundation (CIFO), Miami, FL;  the State University of New York (SUNY), Old Westbury, NY; Fonds D’Art Contemporain de Ville de Geneve, Switzerland; IBEU Cultural Institute, Rio de Janeiro, Brazil, as well as numerous international private collections.

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