iBerkeley Art Museum and Pacific Film Archive (BAMPFA)Downtown Berkeley, next to the UC Berkeley campus
First US retrospective of Chilean feminist artist Lotty Rosenfeld, whose prints, video and interventions contested militarized public space.
In a black-and-white photograph from 1985, Rosenfeld stands in the road outside La Moneda, Chile's presidential palace, a roll of white tape at her feet, laying a strip across the dashed centre line to make a cross. She first did it in 1979, under Pinochet, and later outside the White House.
This is her first US retrospective, which opened at Columbia University. You go from a 1973 etching of a Last Supper with nude women at the table to book covers for the writer Diamela Eltit, the NO+ campaign with the CADA collective, and late prints worked with thread. Reviewing the New York showing, Hyperallergic picked out a 1987 video where her street crossings cut through footage of Pinochet rallies, under the line "Esta línea es mi arma" (this line is my weapon).
The actions happened in the street, so much of what's here is the photographs and video that record them. It's included in the $18 admission, free on first Thursdays and for under-14s, until November 15.
One Mile of Crosses at La Moneda
A 1985 photograph shows Rosenfeld in the road outside Chile's presidential palace, a roll of white tape at her feet, crossing the dashed traffic line.
The Last Supper etching
In this 1973 etching, figures ring a dark oval table, a bearded man plays a flute at its head, and nude women sit with their backs to you.
The NO+ poster
Stencilled letters reading NO + PORQUE SOMOS + sit over a hazy photo of protesters, made for International Women's Day in Chile in 1986.
Ché, from The Stubborn Ritual of Memory
A 2007 print worked with thread: red roses and a pierced copper-coloured panel on the left, a grainy upturned face on the right.
You want art to look at rather than read: much of it documents street actions under Pinochet.