'Focus at Infinity’ explores all of the varied aspects of the artist’s work.
Rosemarie Castoro is one of the most significant artists of the second half of the twentieth century, because her creative career lies midway between the freer and more radical avant-garde and a certain engagement with the preceding tradition, a creative position that made her a transition figure, a symptom in real time of the changes that the visual arts experienced since the 1950s, with the emergence of disciplines such as happenings, body art and abstract expressionism Castoro (1939-2015) worked with different materials, techniques and situations, and her career can be divided into different phases that overlap, passing through minimalism, abstract art and also different artistic expressions that have to do with the word, the body, installations, land art and sculpture. She is, therefore, difficult figure to reduce to one unique concept, as we will see in the retrospective devoted to her at Macba, from November 9, under the title 'Focus at Infinity'.
The exhibition, which is commissioned by Tanya Barson, will focus mainly on the period between 1964 and 1979, which was the most important in the development of her ambitious and diverse discourse, which Castoro exploited to pose countless questions about what art is, its function and its aesthetic possibilities. The exhibition will be a journey through visible works -maps, sculptures, pages- but it will also have a live performance component, since one of Castoro's concerns was dance, and the body as a creative resource based on movement.
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