LOTTY ROSENFELD
El Portazo del Estado (Slamming the state), 1994
Serigraph on paper with photograph, nails, and paint
Collection of Fundación Lotty Rosenfeld
#LottyRosenfeld #DiamalaEltit #WallachArtGallery #ColumbiaUniversity #NataliaBrizuela #JuliaBryanWilson
LOTTY ROSENFELD
Albaneses/ Brindisi (Albanians/Brindisi), 2017
Mixed media box with fabric, WWII-era metal studs from a post office box, and altered photograph
Collection of Fundación Lotty Rosenfeld
Even after the dictatorship ended, relatives had to demand justice for those who had been detained and disappeared, as seen in this collage, "El Portazo del Estado (Slamming the state)", Rosenfeld made in 1994.
"Lotty Rosenfeld: Disobedient Spaces" is on view until Sunday, March 15, 2026.
Amid the murdering of political dissidents under Pinochet, it was the urgent collective action of wives and daughters that most visibly countered blatant state violence.
By circulating images of their loved ones, women strategically used the identification photograph as testimony.
#LottyRosenfeld #DiamalaEltit #WallachArtGallery #ColumbiaUniversity #NataliaBrizuela #JuliaBryanWilson
DIAMELA ELTIT + LOTTY ROSENFELD
El padre mío (My father), 1985
Color and black-and-white video with sound, converted from NTSC DVD; 9 min. 39 sec.
Collection of Fundación Lotty Rosenfeld
The fragmented speech of schizophrenia mirrors the sociopolitical crisis in a poetics of montage.
During the last years of dictatorship, testimonial voices about trauma and violence were abundant; Rosenfeld, in collaboration with the writer and artist Diamela Eltit, urged us to consider alternative ways of observing testimony.
This montage of a rambling man, a young girl exposing domestic violence, Pinochet commemorating the coup, and recordings of a feminist community meeting in the periphery of Santiago explores the interconnectedness of madness, power, and poverty.
Co-curated by Natalia Brizuela and Julia Bryan-Wilson, "Lotty Rosenfeld: Disobedient Spaces" is made possible through generous financial support from Teiger Foundation, and the collaboration of the Fundación Lotty Rosenfeld.
#LottyRosenfeld
#teigerfoundation
#wallachartgalery
#columbiauniversity
This upcoming weekend is your last chance to see the acclaimed exhibition "Lotty Rosenfeld: Disobedient Spaces" before it closes at 6 pm on Sunday, March 15, 2026.
#LottyRosenfeld #WallachArtGallery #ColumbiaUniversity #NataliaBrizuela #JuliaBryanWilson #ArtissimaFair #SculptureCenter
Curated by Natalia Brizuela and Julia Bryan-Wilson, "Lotty Rosenfeld: Disobedient Spaces" is in its final days, and will close at the end of the day on March 15, 2026.
Learn more: www.artissima.art/en/5-shows-n...
Thank you to the SculptureCenter's Sohrab Mohebbi and the Artissima Fair for selecting "Lotty Rosenfeld: Disobedient Spaces" as one of the top 5 shows in New York!
#brooklynrail #lottyrosenfeld #wallachartgallery #caitlinanklam #teigerfoundation
Anklam writes: "Throughout Disobedient Spaces, the curators emphasize the language of puncture, suture, wound—instances where Rosenfeld’s work cuts through the fabric of daily life to create an opening, exposing potential ways through."
Read the full review at brooklynrail.org.
Many thanks to Caitlin Anklam and The Brooklyn Rail for the discussion of "Lotty Rosenfeld: Disobedient Spaces" in the March 2026 edition.
Installation detail shots by Olympia Shannon.
#lottyrosenfeld #wallachartgallery #columbiauniversity #diamelaeltit #peterhandke #kaspar
LOTTY ROSENFELD
¿Quién viene con Nelson Torres?
(Who Comes with Nelson Torres?), 2001
Color video with sound; 13 min. 58 sec.
Script by Diamela Eltit
Collection of Fundación Lotty Rosenfeld
It intersperses footage of various marginalized subjects-including a sex worker, a deaf woman, and a drug addict-alongside riots across Latin America.
It is also a response to Austrian playwright Peter Handke's Kaspar (1967), a drama about a near-speechless adult man.
Who is allowed to speak? Whose speech is listened to?
Examining how language has the capacity to discipline us by compelling socially and politically acceptable behaviors, Rosenfeld and Eltit produced this collage-like video.
Free and open to the public Wednesday through Sunday, 12-6 pm.
A short walk from the 125th Street stop on the 1 train, Wallach Art Gallery is located on the 6th floor of the Lenfest Art Center at 615 W 129th Street, New York. NY 10027.
More info at wallach.columbia.edu, or Link in bio.
Final two weeks to see "Lotty Rosenfeld: Disobedient Spaces," curated by Natalia Brizuela and Julia Bryan-Wilson.
The first US retrospective of the acclaimed Chilean artist, which has enjoyed extensive coverage in the art press, will have its last day on Sunday, March 15, 2026.
Vaso de leche, Bogotá (Glass of milk, Bogotá), 1979
Documentary photograph (printed 2025)
Courtesy of Cecilia Vicuña
#CeciliaVicuna #LottyRosenfeld
CECILIA VICUÑA
Hambre (Hunger), 1979
Ink on paper
Both collection of Cecilia Vicuña
the hunger of being human being human is hunger hunger is being human.
Para no morir de hambre en el arte (So as not
to die of hunger in art), 1979 Paid advertisment in HOY magazine
Courtesy of Archivos en Uso
1/2 litro leche (Para no morir) [1/2 litre of milk
(So as not to die)], 1979
Empty milk bag with stamped ink
IMAGES:
CADA (Colectivo Acciones de Arte)
Para no morir de hambre en el arte (So as not
to die of hunger in art), 1979
Seven documentary photographs (printed 2025)
Courtesy of CADA archive at Museo de la Memoria y los Derechos Humanos and
Fundación Lotty Rosenfeld and Diamela Eltit
on behalf of CADA
With blood-red thread and spilled milk, it referred to the cruel dictatorship in her home country and also el crimen lechero (the milk crime), unfolding in Colombia, in which infants were poisoned by contaminated, diluted milk due to corporate greed.
CADA also invited artists outside of Chile to participate in solidarity actions, and Chilean artist/writer Cecilia Vicuña performed Vaso de leche, Bogotá (Glass of milk, Bogotá) in Colombia.
and they published a text that connected an imagined empty page with the lack of milk. While bountiful milk for children had been a campaign promise of socialist Allende, Pinochet's neoliberal policies were causing hunger.
