Guillermo Kuitca

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Guillermo Kuitca (born 1961 in Buenos Aires), is an Argentinean artist, who continues to work and live Buenos Aires. Kuitca's work has been shown extensively around the globe, and is included in many important public collections, including The Tate Gallery, England; The Metropolitan Museum of Art, New York, NY; Hirshhorn Museum and Sculpture Garden, Washington, DC; Albright-Knox Art Gallery, Buffalo, NY and The Daros Collection, Zürich, Switzerland. Kuitca represented Argentina at the 2007 Venice Biennale.[1] Recurrent themes of travel, maps, memory, and migration can be found in Kuitca’s work.

Guillermo Kuitca is represented by Hauser & Wirth.

Early and Mid-1980s[edit]

In the early and mid-1980s, Kuitca made works which incorporate theater imagery. Many paintings from this period feature figures on a stage-like platform, with titles often inspired by plays, literature and music.

Late 1980s and Early 1990s[edit]

In the late 1980s and early 1990s, Kuitca began to integrate the subjects of architecture and topography in his work, often exploring the confluence of communal and private spaces. The floor plans of public institutions, such as those found in the “Tablada Suite” series, geographical maps, and genealogical charts begin to serve as important references during this period.” [2] In 1992, Kuitca created his first works which incorporated the image of a painted bed, “often small and forlorn on the canvas.” [3] Afterwards, the artist used the motif of an apartment floor plan, middle-class and compact, with only one bathroom. This floor plan would eventually lead to maps, theater plans and baggage carousels.

1990s and Early 2000s[edit]

Kuitca continued to explore organizational systems, in his “Neufert Suite” (1998) and “Encyclopédie” (2002) series. In his “Global Order” (2002) works, Kuitca combines a world map with architectural plans for interior spaces, “identifying borders and notions of ‘place’ as the changing products of human invention.” [4]


Kuitca is well known “for his use of maps – particularly his transcriptions of topography onto mattresses”. Kuitca says he uses the image of a map “to get lost… not to get oriented.”[3] Stemming from his experimentation with aerial views of floor plans, Kuitca moved to maps because “he liked the way they occupy a space somewhere between the abstract and the representational.”[5]


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