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{{Short description|Peruvian artist}}
{{Short description|Peruvian artist (1935–2021)}}
{{use dmy dates|date=April 2021}}
{{use dmy dates|date=April 2021}}
{{Infobox person
{{Infobox person
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| birth_place = [[Iquitos]], [[Peru]]
| birth_place = [[Iquitos]], [[Peru]]
| death_date = {{death date and given age|2021|2|11|86|df=y}}
| death_date = {{death date and given age|2021|2|11|86|df=y}}
| nationality = [[Peruvians|Peruvian]]
| other_names =
| other_names =
| occupation = [[Multimedia artist]]
| occupation = [[Multimedia artist]]
| education = [[Pontifical Catholic University of Peru]]<br/>[[School of the Art Institute of Chicago]]
| education = [[Pontifical Catholic University of Peru]]<br/>[[School of the Art Institute of Chicago]]
| years_active = 1960s-2021
| years_active = 1960s–2021
| known_for = Arte Nuevo
| known_for = Arte Nuevo
| notable_works =
| notable_works =
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Burga was born in [[Iquitos]], [[Peru]] in 1935.
Burga was born in [[Iquitos]], [[Peru]] in 1935.


Burga studied painting at the [[Pontifical Catholic University of Peru]] in Lima, from which she graduated in 1965. After the graduation, she joined the group Arte Nuevo (1966-8) with Arias Vera, Gloria Gómez-Sánchez and Jaime Dávila. It was a catalyst that made the redefinition of art practices accelerate in Peru in the late 1960s. As a [[Fulbright Program|Fulbright Fellow]], she attended the [[School of the Art Institute of Chicago]] between 1968 and 1970. She was awarded an MFA degree in 1970.<ref>{{Cite web|url=https://web.archive.org/web/20150402135157/http://www.bthumm.de/www/artists/burga/bio.php/|title=Galerie Barbara Thumm|date=Apr 2, 2015|website=web.archive.org|accessdate=Mar 4, 2021}}</ref>
Burga studied painting at the [[Pontifical Catholic University of Peru]] in Lima, from which she graduated in 1965. After the graduation, she joined the group Arte Nuevo (1966-8) with Arias Vera, Gloria Gómez-Sánchez and Jaime Dávila. It was a catalyst that made the redefinition of art practices accelerate in Peru in the late 1960s. As a [[Fulbright Program|Fulbright Fellow]], she attended the [[School of the Art Institute of Chicago]] between 1968 and 1970. She was awarded an MFA degree in 1970.<ref>{{Cite web|url=http://www.bthumm.de/www/artists/burga/bio.php/|title=Galerie Barbara Thumm|date=Apr 2, 2015|archive-url=https://web.archive.org/web/20150402135157/http://www.bthumm.de/www/artists/burga/bio.php/|accessdate=Mar 4, 2021|archive-date=2 April 2015}}</ref>


==Career==
==Career==
In the 1960s, Burga was a member of the group [[Arte Nuevo]] (1966–1968), along with [[Luis Arias Vera]], [[Gloria Gómez-Sánchez]], Jaime Dávila, Víctor Delfín, Emilio Hernández Saavedra, José Tang, Armando Varela, and Luis Zevallos Hetzel. The group is widely credited with the introduction of the new [[avant-garde]] tendencies in the Peruvian context, such as [[Pop art]], [[Op art]], and [[happening]]s.<ref>{{cite book |last=López |first=Miguel A. |editor-last=Lerner |editor-first=Sharon |title=Arte contemporáneo – Colección Museo de Arte de Lima |publisher=MALI |date=2013 |pages=16–45 |chapter=Cosmopolitan F(r)ictions. Aesthetic and political redefinitions of a concept of avant-garde in the 1960s }}</ref> During this time, she exhibited in Peru and Argentina, including two solo shows of her series of prints ''Lima imaginada'' in Lima, at the gallery Cultura y Libertad in 1965, and in Buenos Aires, at the gallery Siglo XXI in 1966.<ref>{{cite book |author=<!--Staff writer(s); no by-line.--> |title=Teresa Burga. Informes, esquemas, intervalos 17.9.10 |location=Lima |publisher=ICPNA |page=163 |date=2011 }}</ref> When Burga returned to Peru after her studies in Chicago, the country was under the military government of general [[Juan Velasco Alvarado]]. Under the populist policies of the regime, Burga's experimental proposals were deemed as not possessing enough "Peruvian character," and the artist's exhibition possibilities—severely limited.<ref>{{Cite web|last=López|first=Miguel A.|title=“As near as possible to fate” A dialogue with Teresa Burga|url=https://www.alexandergray.com/attachment/en/594a3c935a4091cd008b4568/Press/5cb6497b5fc13853035a10b5|url-status=live|access-date=March 14, 2021|website=Alexander Gray Associates}}</ref> Nonetheless, she realized two ambitious, large-scale multimedia installations at the gallery of Instituto Cultural Peruano Norte-americano in Lima: ''Autorretrato. Estructura-Informe 9.6.72'' (Self-portrait. Structure-report) in 1972, and [https://mali.pe/objects/857/4-mensajes/ ''Cuatro mensajes'' (Four messages)], in 1974.
In the 1960s, Burga was a member of the group [[Arte Nuevo]] (1966–1968), along with [[Luis Arias Vera]], [[Gloria Gómez-Sánchez]], Jaime Dávila, Víctor Delfín, Emilio Hernández Saavedra, José Tang, Armando Varela, and Luis Zevallos Hetzel. The group is widely credited with the introduction of the new [[avant-garde]] tendencies in the Peruvian context, such as [[Pop art]], [[Op art]], and [[happening]]s.<ref>{{cite book |last=López |first=Miguel A. |editor-last=Lerner |editor-first=Sharon |title=Arte contemporáneo – Colección Museo de Arte de Lima |publisher=MALI |date=2013 |pages=16–45 |chapter=Cosmopolitan F(r)ictions. Aesthetic and political redefinitions of a concept of avant-garde in the 1960s }}</ref> During this time, she exhibited in Peru and Argentina, including two solo shows of her series of prints ''Lima imaginada'' in Lima, at the gallery Cultura y Libertad in 1965, and in Buenos Aires, at the gallery Siglo XXI in 1966.<ref>{{cite book |author=<!--Staff writer(s); no by-line.--> |title=Teresa Burga. Informes, esquemas, intervalos 17.9.10 |location=Lima |publisher=[[ICPNA]] |page=163 |date=2011 }}</ref> When Burga returned to Peru after her studies in Chicago, the country was under the military government of general [[Juan Velasco Alvarado]]. Under the populist policies of the regime, Burga's experimental proposals were deemed as not possessing enough "Peruvian character," and the artist's exhibition possibilities—severely limited.<ref>{{Cite web|last=López|first=Miguel A.|title="As near as possible to fate" A dialogue with Teresa Burga|url=https://www.alexandergray.com/attachment/en/594a3c935a4091cd008b4568/Press/5cb6497b5fc13853035a10b5|access-date=March 14, 2021|website=Alexander Gray Associates}}</ref> Nonetheless, she realized two ambitious, large-scale multimedia installations at the gallery of Instituto Cultural Peruano Norte-americano in Lima: ''Autorretrato. Estructura-Informe 9.6.72'' (Self-portrait. Structure-report) in 1972, and [https://mali.pe/objects/857/4-mensajes/ ''Cuatro mensajes'' (Four messages)], in 1974.


==Major works==
==Major works==
According to the Mexican curator Tatiana Cuevas, Burga's most iconic work is the project ''Perfil de la mujer peruana'' (Profile of the Peruvian Woman), created with psychologist Marie-France Cathelat during 1980–1981.<ref>{{Cite web|last=Cuevas|first=Tatiana|title=Profile of the Peruvian Woman (1980-1981)|url=http://www.saps-latallera.org/saps/exposicion/perfil-de-la-mujer-peruana-1980-1981?lang=en|url-status=live|access-date=March 15, 2021|website=www.saps-latallera.org}}</ref> This multidisciplinary investigation sought to analyze the status of women in Peru taking into account their affective, psychological, sexual, social, educational, cultural, linguistic, religious, professional, economic, political, and legal characteristics and circumstances, and is an example of the second-wave feminism in Latin America. The project was originally presented in 1981 during the I Coloquio de Arte No-Objetual y Arte Urbano (1st Symposium of Non-Objectual and Urban Art) at the Museo de Arte Moderno in [[Medellín]], Colombia; months later it was shown in an exhibition at the Banco Continental in Lima, Peru; by the end of that same year, the full investigation came together as a published book.<ref>Cathelat, Marie-France, and Teresa Burga. 1981. Perfil de la mujer peruana, 1980-1981. [Lima?]: Investigaciones Sociales Artísticas.</ref>
According to the Mexican curator Tatiana Cuevas, Burga's most iconic work is the project ''Perfil de la mujer peruana'' (Profile of the Peruvian Woman), created with psychologist Marie-France Cathelat during 1980–1981.<ref>{{Cite web|last=Cuevas|first=Tatiana|title=Profile of the Peruvian Woman (1980-1981)|url=http://www.saps-latallera.org/saps/exposicion/perfil-de-la-mujer-peruana-1980-1981?lang=en|access-date=March 15, 2021|website=www.saps-latallera.org}}</ref><ref>{{Cite book |last1=Arca |first1=Elisa |url=https://www.degruyter.com/document/doi/10.1515/9783110670981-013/html |last2=Mariátegui |first2=José-Carlos |title=Retracing Political Dimensions |chapter=Double-bind Information Systems in the Work of Teresa Burga |date=2020-11-23 |pages=213–227 |publisher=De Gruyter |isbn=978-3-11-067098-1 |language=en |doi=10.1515/9783110670981-013|s2cid=240500167 }}</ref> This multidisciplinary investigation sought to analyze the status of women in Peru taking into account their affective, psychological, sexual, social, educational, cultural, linguistic, religious, professional, economic, political, and legal characteristics and circumstances, and is an example of the second-wave feminism in Latin America. The project was originally presented in 1981 during the I Coloquio de Arte No-Objetual y Arte Urbano (1st Symposium of Non-Objectual and Urban Art) at the Museo de Arte Moderno in [[Medellín]], Colombia; months later it was shown in an exhibition at the Banco Continental in Lima, Peru; by the end of that same year, the full investigation came together as a published book.<ref>Cathelat, Marie-France, and Teresa Burga. 1981. Perfil de la mujer peruana, 1980-1981. [Lima?]: Investigaciones Sociales Artísticas.</ref> Burga has resorted to technology based on organizing information into complex mind maps and structures. In her works, Burga anticipated the massive use of information processing and analysis tools for studying personal data, such as ''Self-portrait. Structure. Report. 9.6.1972'' (1972).<ref>{{Citation |last1=Arca |first1=Elisa |title=Double-bind Information Systems in the Work of Teresa Burga |date=2020-11-23 |url=http://dx.doi.org/10.1515/9783110670981-013 |work=Retracing Political Dimensions |pages=213–227 |publisher=De Gruyter |access-date=2022-06-01 |last2=Mariátegui |first2=José-Carlos|doi=10.1515/9783110670981-013 |isbn=9783110670981 |s2cid=240500167 }}</ref> Subsequently, Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. Interestingly enough, the politics of some of those computerized systems were already present in Burga’s artistic explorations associated with representation and control mechanisms through the organization and management of personal information. Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. Interestingly enough, the politics of some of those computerized systems were already present in Burga’s artistic explorations associated with representation and control mechanisms through the organization and management of personal information.<ref>{{Cite web |date=2021-04-12 |title=In Memoriam: Teresa Burga (1935-2021) |url=https://leonardo.info/blog/2021/04/12/in-memoriam-teresa-burga-1935-2021 |access-date=2022-06-01 |website=Leonardo/ISASTwith Arizona State University |language=en}}</ref>


== Publications and bibliography ==
== Publications and bibliography ==
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==Death==
==Death==
Burga died 11 February 2021, in Lima.<ref>{{cite web |last1=Ludel |first1=Wallace |title=Teresa Burga, trailblazing Peruvian conceptualist artist, has died, aged 86 |url=https://www.theartnewspaper.com/news/teresa-burga-trailblazing-peruvian-conceptualist-artist-has-died-aged-86 |website=www.theartnewspaper.com}}</ref> Her death was announced by the Peruvian Minister of Culture.<ref name="MOCPeru">{{cite web |title=Ministerio Cultura |url=https://twitter.com/MinCulturaPe/status/1359875027257196547 |website=twitter.com |publisher=Ministerio Cultura, Peru}}</ref>
Burga died 11 February 2021, in Lima from COVID-19.<ref>{{cite web | url=https://www.artforum.com/news/teresa-burga-1935-2021-85081 | title=Teresa Burga (1935–2021) | date=17 February 2021 }}</ref><ref>{{cite web |last1=Ludel |first1=Wallace |title=Teresa Burga, trailblazing Peruvian conceptualist artist, has died, aged 86 |url=https://www.theartnewspaper.com/news/teresa-burga-trailblazing-peruvian-conceptualist-artist-has-died-aged-86 |website=www.theartnewspaper.com|date=12 February 2021 }}</ref> Her death was announced by the Peruvian Minister of Culture.<ref name="MOCPeru">{{cite web |title=Ministerio Cultura |url=https://twitter.com/MinCulturaPe/status/1359875027257196547 |website=twitter.com |publisher=Ministerio Cultura, Peru}}</ref>


==References==
==References==
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[[Category:20th-century women artists]]
[[Category:20th-century women artists]]
[[Category:21st-century women artists]]
[[Category:21st-century women artists]]
[[Category:Deaths from the COVID-19 pandemic in Peru]]

Latest revision as of 23:58, 30 June 2024

María Teresa Burga Ruiz[1]
Born1935 (1935)
Iquitos, Peru
Died (aged 86)
EducationPontifical Catholic University of Peru
School of the Art Institute of Chicago
OccupationMultimedia artist
Years active1960s–2021
Known forArte Nuevo

María Teresa Burga Ruiz (1935 – 11 February 2021) was a multimedia artist whose conceptual art works during the late 1960s and 1970s position her as a precursor of media art, technology-based art, and installation art in Peru.

Early life and education

[edit]

Burga was born in Iquitos, Peru in 1935.

Burga studied painting at the Pontifical Catholic University of Peru in Lima, from which she graduated in 1965. After the graduation, she joined the group Arte Nuevo (1966-8) with Arias Vera, Gloria Gómez-Sánchez and Jaime Dávila. It was a catalyst that made the redefinition of art practices accelerate in Peru in the late 1960s. As a Fulbright Fellow, she attended the School of the Art Institute of Chicago between 1968 and 1970. She was awarded an MFA degree in 1970.[2]

Career

[edit]

In the 1960s, Burga was a member of the group Arte Nuevo (1966–1968), along with Luis Arias Vera, Gloria Gómez-Sánchez, Jaime Dávila, Víctor Delfín, Emilio Hernández Saavedra, José Tang, Armando Varela, and Luis Zevallos Hetzel. The group is widely credited with the introduction of the new avant-garde tendencies in the Peruvian context, such as Pop art, Op art, and happenings.[3] During this time, she exhibited in Peru and Argentina, including two solo shows of her series of prints Lima imaginada in Lima, at the gallery Cultura y Libertad in 1965, and in Buenos Aires, at the gallery Siglo XXI in 1966.[4] When Burga returned to Peru after her studies in Chicago, the country was under the military government of general Juan Velasco Alvarado. Under the populist policies of the regime, Burga's experimental proposals were deemed as not possessing enough "Peruvian character," and the artist's exhibition possibilities—severely limited.[5] Nonetheless, she realized two ambitious, large-scale multimedia installations at the gallery of Instituto Cultural Peruano Norte-americano in Lima: Autorretrato. Estructura-Informe 9.6.72 (Self-portrait. Structure-report) in 1972, and Cuatro mensajes (Four messages), in 1974.

Major works

[edit]

According to the Mexican curator Tatiana Cuevas, Burga's most iconic work is the project Perfil de la mujer peruana (Profile of the Peruvian Woman), created with psychologist Marie-France Cathelat during 1980–1981.[6][7] This multidisciplinary investigation sought to analyze the status of women in Peru taking into account their affective, psychological, sexual, social, educational, cultural, linguistic, religious, professional, economic, political, and legal characteristics and circumstances, and is an example of the second-wave feminism in Latin America. The project was originally presented in 1981 during the I Coloquio de Arte No-Objetual y Arte Urbano (1st Symposium of Non-Objectual and Urban Art) at the Museo de Arte Moderno in Medellín, Colombia; months later it was shown in an exhibition at the Banco Continental in Lima, Peru; by the end of that same year, the full investigation came together as a published book.[8] Burga has resorted to technology based on organizing information into complex mind maps and structures. In her works, Burga anticipated the massive use of information processing and analysis tools for studying personal data, such as Self-portrait. Structure. Report. 9.6.1972 (1972).[9] Subsequently, Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. Interestingly enough, the politics of some of those computerized systems were already present in Burga’s artistic explorations associated with representation and control mechanisms through the organization and management of personal information. Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. Interestingly enough, the politics of some of those computerized systems were already present in Burga’s artistic explorations associated with representation and control mechanisms through the organization and management of personal information.[10]

Publications and bibliography

[edit]

Teresa Burga; Jassan, Alejandro. Teresa Burga: September 5 – October 12, 2019. Alexander Gray Associates, 2021.

Burga, Teresa. Aleatory Structures. Ringier, 2018.

Death

[edit]

Burga died 11 February 2021, in Lima from COVID-19.[11][12] Her death was announced by the Peruvian Minister of Culture.[1]

References

[edit]
  1. ^ a b "Ministerio Cultura". twitter.com. Ministerio Cultura, Peru.
  2. ^ "Galerie Barbara Thumm". 2 April 2015. Archived from the original on 2 April 2015. Retrieved 4 March 2021.
  3. ^ López, Miguel A. (2013). "Cosmopolitan F(r)ictions. Aesthetic and political redefinitions of a concept of avant-garde in the 1960s". In Lerner, Sharon (ed.). Arte contemporáneo – Colección Museo de Arte de Lima. MALI. pp. 16–45.
  4. ^ Teresa Burga. Informes, esquemas, intervalos 17.9.10. Lima: ICPNA. 2011. p. 163.
  5. ^ López, Miguel A. ""As near as possible to fate" A dialogue with Teresa Burga". Alexander Gray Associates. Retrieved 14 March 2021.
  6. ^ Cuevas, Tatiana. "Profile of the Peruvian Woman (1980-1981)". www.saps-latallera.org. Retrieved 15 March 2021.
  7. ^ Arca, Elisa; Mariátegui, José-Carlos (23 November 2020). "Double-bind Information Systems in the Work of Teresa Burga". Retracing Political Dimensions. De Gruyter. pp. 213–227. doi:10.1515/9783110670981-013. ISBN 978-3-11-067098-1. S2CID 240500167.
  8. ^ Cathelat, Marie-France, and Teresa Burga. 1981. Perfil de la mujer peruana, 1980-1981. [Lima?]: Investigaciones Sociales Artísticas.
  9. ^ Arca, Elisa; Mariátegui, José-Carlos (23 November 2020), "Double-bind Information Systems in the Work of Teresa Burga", Retracing Political Dimensions, De Gruyter, pp. 213–227, doi:10.1515/9783110670981-013, ISBN 9783110670981, S2CID 240500167, retrieved 1 June 2022
  10. ^ "In Memoriam: Teresa Burga (1935-2021)". Leonardo/ISASTwith Arizona State University. 12 April 2021. Retrieved 1 June 2022.
  11. ^ "Teresa Burga (1935–2021)". 17 February 2021.
  12. ^ Ludel, Wallace (12 February 2021). "Teresa Burga, trailblazing Peruvian conceptualist artist, has died, aged 86". www.theartnewspaper.com.
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