Art Review
The Chilean artist known as Lotty Rosenfeld understood the importance of both sustenance and courage in the face of authoritarianism. Born in Santiago, Chile in 1943, Rosenfeld’s work challenged the oppressive regime of Augusto Pinochet through subtle acts of defiance that gradually shifted the political landscape. Her most famous action, “Una milla de cruces sobre el pavimento” (One Mile of Crosses on the Pavement, 1979), involved placing white tape and bandages on traffic lines, creating a trail of crosses that symbolized the victims of state violence.
Rosenfeld’s actions were captured in grainy black-and-white footage, showcasing her slow and deliberate process of disobedience. The marks left by her actions served as a tally of the silenced voices under Pinochet’s rule, while also hinting at the possibility of resistance and change. Throughout the 1980s, Rosenfeld repeated this action in various locations, from the Atacama Desert to Washington, DC, maintaining its subversive power across different contexts.
One of Rosenfeld’s most iconic works, “I – +” (1987), featured a video projection of her street crossings overlaid with state-controlled broadcasts, creating a luminous cross that disrupted the official narrative. The phrase “Esta lĂnea es mi arma” (This line is my weapon) scrolled intermittently on the screen, underscoring Rosenfeld’s defiance and determination.
“Disobedient Spaces” at the Wallach Art Gallery explores Rosenfeld’s work within the context of her collaborations with artists like Cecilia Vicuña and writer Diamela Eltit. As a founding member of Colectivo Acciones de Arte (CADA), Rosenfeld engaged in collective actions such as distributing bags of milk in low-income neighborhoods, reclaiming this symbol of scarcity under Pinochet’s regime. The exhibition showcases archival materials from CADA, highlighting the group’s commitment to merging activism and art in the fight against oppression.
Rosenfeld’s resistance was not just individual but collective, as seen in CADA’s NO+ campaign, which invited citizens to voice their demands and circulate the slogan across Chile. The exhibition features reprinted flyers and NO+ pins, emphasizing the power of collective action in challenging authoritarian rule.
Overall, Rosenfeld’s work demonstrates that disobedience can start with the smallest act of defiance, gradually eroding the state’s control and paving the way for dissent. “Disobedient Spaces” at the Wallach Art Gallery is a testament to Rosenfeld’s legacy and her enduring impact on art and activism.
Lotty Rosenfeld: Disobedient Spaces is on display at the Wallach Art Gallery in Manhattan until March 15. The exhibition, curated by Natalia Brizuela and Julia Bryan-Wilson, celebrates Rosenfeld’s fearless spirit and her commitment to using art as a tool for resistance.
