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Wednesday, 01 Apr 2020

ALEJANDRA RUDOFF: A Chilean traveling celebrity among colored iron sculptures.

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46rf0Frequent prizewinner with innumerable artworks in public spheres, Alejandra Ruddoff always discovers new worlds that induce her to experiment with new shapes and materials, such as her exhibition at the National Museum of the Fine Arts of Santiago de Chile where she showed nine iron sculptures in search of divesting sculpture from mass and weight.


According to Milan Ivelic, director of the National Museum of Fine Arts, Alejandra Ruddoff‘s exhibition was the culmination of an aesthetic orientation towards volume dematerialization, initiated  in 1988 when she made the first exploratory move to divest sculpture from mass and weight in order to expand it spaceward. That year she worked in Munich with spatial structures, she virtually unfettered from gravity, relinquishing such enfolding masses as sculptures in the round, and advanced towards a spatial conquest where space is the lead character. She enforced this experience -reiterated in 1992 during her second stay in Munich- by her direct observation at the automobile industry of the significant role of energy, movement, and velocity.46rf1


The exhibition Moving Routes includes nine sculptures that allude to such concepts as transit, circulation, trajectory, stellar wind,  and constellation. The artist points out that ‘each one describes a moving trajectory that when suspended establishes its continuity, establishes its species. What has been set up by means of the volumetric description of a trajectory in displacement is a spatial moment. They were wrapped in a skin of drawing and color, like wearing their original genealogy. The skin was conceived from the bidimensionally extrapolated drawing of its own movement linked to a vibration that incites color and thus interprets its original inscription.



Alejandra Ruddoff was born in 1960. She remembers having felt a bond to artistic creation since childhood and that her parents encouraged her to find her own approach to self-actualization. She thus entered the Faculty of Arts of Universidad de Chile where 'at first she was apprehensive and full of hesitations not being quite certain whether she preferred architecture or the arts, in consequence, ‘I decided I would stay one year and find out if it would enthuse me.’ Her choice is obvious looking at her career.



46rf2Up to a certain point prompted by the Chilean political process of those years, Alejandra Ruddoff sought new horizons and knowledge that would be more in line with her expectations. In 1987, she applied for and won a scholarship at the Academy of Fine Arts of Munich, Germany, and renewed it between 1991 and 1993. This implied a relevant step for her development, as well as the experience she acquired when meeting other sculptors, executing sculptures in situ and comparing her art practice with her peers at home and abroad. This is a working modality convoked by diverse institutions under the common title ‘Symposium’ that offers artists an opportunity to leave his or her studio and meet other sculptors, and to talk about each other’s theoretical and practical view of sculpture.



arslatino (a): Which was the significance of your scholarship in Germany? It must have been a great time.


Alejandra Ruddoff (AR): I felt as happy as a clam. To find the spot I had looked for so long was fundamental for my creative process. I should say that fundamentally all the basics had been solved: a teacher, working space, tools at my avail, specialized assistance, models as required, being part of each interesting workshops, etc.


(a): How evolved your creative process from then on?


AR: My creative process has been a steady movement, like a link-after-link concatenated chain. Mi process does not stand for any repetition or iteration. Obviously, there are series; they may be recognized by shape or name. Any allusion to the diversity of my work is a reference precisely to that point as well as to the different materials I use. In fact, what fascinates me is to try out other materials (I am not daunted by hard work) and, what is more important is that each work has its concept, its identity, and its place; that is why it not always fits the same material.

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