Artista colombiana nacida en Cali, 1952 . Estudios realizados: 1974 Bachelor of Fine Arts College of New Rochelle, New York 1977, Master of Fine Arts Pratt Institute, New York.
Alicia Barney ha trabajado con el paisaje y en el paisaje. Señalando básicamente sus propiedades dramáticas, su tragedia ante la depredación y la extinción. El Río Cauca, que tanto pintó Zamora fue motivo de su estudio conmovedor que evidenció su deterioro y condición moribunda. Yumbo, nuestra productiva zona industrial, tratada por Rendón, fue igualmente lugar de su proyecto sobre polución. Cierran esta muestra los paisajes muertos de Barney, ejemplificados por basura de playa (Bocagrande), hojas secas del bosque y elementos distintos en descomposición, como una materialización del arte del paisaje que no sólo va dirigido a nuestra vista, sino que apuesta agudamente a nuestra conciencia.
1995 Miguel Gonzáles
Texto a propósito “Comportamiento del paisaje VII festival internacional de arte de Cali”
Museo de arte moderno La Tertulia
About Alicia Barney's work
Álvaro Barrios | 1980
Alicia Barney: the Alternative Landscape
Miguel González | 1982
Álvaro Herazo | |1982
On the regional process of the bio-vanguard
José Hernán Aguilar | 1984
On the regional process of the auto-bio-vanguard
José Hernán Aguilar | 1985
About “Aves en el cielo" (Birds in the sky)
José Hernán Aguilar | 1993
Alicia Barney – Aves en el cielo (Birds in the sky)
María Teresa Guerrero | 1993
A Text Concerning the “Pulsiones” Exhibit at La Tertulia Museum
Miguel González | 1993
Text Concerning “The Behavior of the Landscape in the Seventh International Art Festival of Cali”
Miguel González | 1995
Carlos Jiménez | 1999
A conversation with Alicia Barney Caldas
Revista Errata #10 | 2014
María Belén Sáez de Ibarra | 2014
Lucas Ospina | 2014
Carmen María Jaramillo | 2016
The Phylogenesis of Generosity
Gina McDaniel Tarver | 2017
Alicia Barney Caldas’ poietics
Lars Bang Larsen | 2018
Transparency and Ecocritical Art: Seeing Art
History through (to) Alicia Barney’s Yumbo
Gina McDaniel Tarver | 2020
“On the regional process of the bio-vanguard”
José Hernán Aguilar, Bogotá, 1984
The process carried out in Río Cauca [Cauca River] updates our idea of a better or worse future; the ascetic Plexiglas pools denounce a reality that is no less rigorous. The denunciation is visual and “artistic,” but serious. Along with Adolfo Bernal’s anonymous “SOS,” the tanks of polluted water from the Cauca River constitute a call for attention to the public (whether this is the spectator or the one who receives the message); the work is art, but also acts differently: it is scientific proof, a document, and a political attitude.
However, the work is no less beautiful or attractive for all that. Responding to certain traditional aesthetic demands, Río Cauca acquires an aura of mystery that surely comes from the delicate and subtly golden tone of the water of the pools, as well as from the minimalist rigor of its design.
The impartial test tubes, which indicate the spot where each sample of polluted water was taken, reaffirm the investigative nature of the work, but also its artistic intent. Moreover, the region which Barney studies, which we might call her genetic consciousness, is presented through a drawing that seems impersonal (the hydrographic map of the river) but which in reality is just that: a drawing.