{"id":47953,"date":"2024-10-08T13:27:35","date_gmt":"2024-10-08T16:27:35","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/sofia-bohtlingk\/"},"modified":"2025-08-28T17:00:31","modified_gmt":"2025-08-28T20:00:31","slug":"sofia-bohtlingk","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/sofia-bohtlingk\/","title":{"rendered":"Sofia Bohtlingk:\u00a0Rhythm is the Best Order"},"content":{"rendered":"\t\t
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The Museo de Arte Moderno de Buenos Aires is proud this year to have acquired the work <\/span>Escribir<\/span><\/i> [<\/span>To<\/span><\/i> Write<\/span><\/i>] (2016) by Sofia Bohtlingk (Buenos Aires, 1976). It is currently on display in our <\/span>Moderno and MetaModerno<\/span><\/i> exhibition. The painting bears a close relation to the works collected here: both painting and drawings chime with the title the artist has chosen for this exhibition of works on paper: <\/span>El ritmo es el mejor orden<\/span><\/i> [<\/span>Rhythm is the Best Order<\/span><\/i>]. This phrase of Peruvian choreographer and composer Victoria Santa Cruz has deeply inspired the artist. It encapsulates Sofia\u2019s devoted attitude towards the work of creation.<\/span><\/p>

For over a decade now, Sofia Bohtlingk\u2019s art has been developing out of corporeal action. Her paintings and drawings stand for bodily rhythms that become rigorous brushstrokes, lines and visual gestures. It is as if each work were an extension of her body striving to reach out and embrace the world while, in the process, becoming a medium, a giver of life and art. Sofia\u2019s body and the body of her art are inextricably one in her oeuvre, and their union is a foundational existential element in understanding her artistic practice.<\/span><\/p>

I caught sight of one of her drawings a couple of years ago: <\/span>Creo que estoy rebalsando de im\u00e1genes<\/span><\/i> [<\/span>It Feels Like I\u2019m Heaving with Images<\/span><\/i>]. It was an astonishing depiction of a figure that was more than human. I followed the life of that work until Sofia brought it to the Moderno to put on display together with fifty kindred drawings, abstract and figurative. In that act of display \u2013 of turning the Museum into her studio, her home \u2013 we understood the profound dialogue between the spiritual \u2013 almost mystical \u2013 quest of Sofia\u2019s art and her creative process.<\/span><\/p>

This exhibition shares the intimacy of that encounter and that work with the Moderno\u2019s public. It is as if Sofia were drawing back the curtain on a private theatre where there is an urgent need to make, to not hold back and, uninterrupted, to sustain the beating of the hand and follow the rhythms of the mind.<\/span><\/p>

Victoria Noorthoorn<\/span><\/p>

Curated by: <\/b>Victoria Noorthoorn
<\/span>Special thanks to<\/b>: Alfredo Aracil, Nora Fisch, Fernando Garc\u00eda and Iv\u00e1n R\u00f6sler<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Sofia Bohtlingk<\/b> (Buenos Aires, 1976) studied painting with Sergio Baz\u00e1n. From 2009 to 2010, she attended the Artists Programme at the Torcuato Di Tella University (UTDT) under the direction of Jorge Macchi. In 2010\u20132011, she received a scholarship under the fifth edition of the Kuitca Scholarship, directed by Guillermo Kuitca.<\/span><\/p>

Bohtlingk explores different possibilities in the development of painting based on the bodily movements involved in its production. Her works fall within pictorial abstraction, not from a compositional viewpoint, but through her staging of the relationship that the body establishes with the canvas in an approach combining the act of painting with performance strategies.<\/span><\/p>

She has participated in numerous solo exhibitions, including <\/span>La Tierra fue una vez un animal gigante<\/span><\/i> [<\/span>The<\/span><\/i> Earth Was Once a Giant Animal<\/span><\/i>] (Galer\u00eda Appetite, 2008), <\/span>Las confesiones<\/span><\/i> [<\/span>The Confessions<\/span><\/i>] (Museo de Arte Contempor\u00e1neo de Rosario, 2012) and <\/span>Espada<\/span><\/i> [<\/span>Sword<\/span><\/i>] (Galer\u00eda Nora Fisch, Buenos Aires, 2017). In 2019, she won Third Prize in the Senior Category awarded by the Amalita Foundation.<\/span><\/p>

The group exhibitions in which she has participated include: <\/span>Pintura Post<\/span><\/i> [<\/span>Post Painting<\/span><\/i>], curated by Cristina Schiavi (Fundaci\u00f3n Osde, 2015); <\/span>Omnidireccional<\/span><\/i> [<\/span>Omnidirectional<\/span><\/i>], curated by Mariano Mayer (Centro Cultural Recoleta, 2015); the fifth edition of the <\/span>Bellos Jueves<\/span><\/i> [<\/span>Beautiful Thursdays<\/span><\/i>] cycle, curated by Javier Villa (Museo Nacional de Bellas Artes, 2015); 19th Klemm Foundation Prize for Visual Arts (2016); <\/span>rro<\/span><\/i>, curated by Sarah Demeuse and Javier Villa (\u2018Dixit\u2019 section, Arteba, 2017); the third edition of the Braque Prize (MUNTREF Contemporary Art Centre, 2017); <\/span>Las decisiones del tacto<\/span><\/i> [<\/span>Decisions of Tact<\/span><\/i>], one of the exhibitions comprising <\/span>En el ejercicio de las cosas<\/span><\/i> [<\/span>In the Practice of Things<\/span><\/i>] as part of Argentina Plataforma ARCO, curated by Sonia Becce and Mariano Mayer (Madrid, 2017); <\/span>Sacarse el sombrero para saludar<\/span><\/i> [<\/span>Removing Your Hat in Greeting<\/span><\/i>], directed by Santiago Bengolea (Proa 21, 2018); <\/span>Zig Zag<\/span><\/i>, curated by Juan Jos\u00e9 Cambre for the Alec Oxenford Collection (2018); <\/span>Iteraciones sobre lo no mismo<\/span><\/i> [<\/span>Iterations On the Non-Same<\/span><\/i>], curated by Guillermina Mongan and Gonzalo Lagos (Museo de Arte Contempor\u00e1neo de Buenos Aires, 2019); the <\/span>Cuerpos blandos<\/span><\/i> [<\/span>Soft Bodies<\/span><\/i>] project, directed by Lucrecia Palacios in conversation with the exhibition <\/span>Reina de Corazones<\/span><\/i> [<\/span>Queen of Hearts<\/span><\/i>] by Delia Cancela (Museo de Arte Moderno de Buenos Aires, 2019); Asamblea de p\u00e1jaros [<\/span>An Assembly of Birds<\/span><\/i>], video and performance work developed with Florencia Rodr\u00edguez Giles and Julieta Garc\u00eda V\u00e1zquez, commissioned by the Museo de Arte Moderno de Buenos Aires (2021).<\/span><\/p>

Her work features in numerous public and private collections. She lives and works in Buenos Aires.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Rhythm is the Best Order: The Playlist<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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