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Airmail Paintings on Duck Fabric, 1998-2011

Eugenio Dittborn, The 27th History of the Human Face (Lejía). Airmail Painting No. 158, 2004, tincture, photosilkscreen, texido, stitching on 16 sections of cotton duck fabric, 420 x 1.260 cm
Eugenio Dittborn, Coudre Provisoirement à Longs Points. Airmail Painting No. 183, 2011, Tincture, photosilkscreen, cotton tissue, stitching on 6 sections of cotton duck fabric, 420 x 420cm
Eugenio Dittborn, Coudre Provisoirement à Longs Points. Airmail Painting No. 183, 2011, Tincture, photosilkscreen, cotton tissue, stitching on 6 sections of cotton duck fabric, 420 x 420cm
Eugenio Dittborn, Obit. Airmail Painting No. 181, 2011, Tincture, stitching, texido, photosilkscreen on 10 sections of duck fabric, 420 x 700cm
Eugenio Dittborn, The Printed Footprint. Airmail Painting No. 184, 2011, Tincture, sateen polygal, stitching, photosilkscreen on 3 sections of duck fabric, 208 x 416.5cm
Eugenio Dittborn, Three Trees. Airmail Painting No. 179, 2008, Tincture, stitching, embroidery, text, photosilkscreen on 3 sections of duck fabric, 210 x 210cm
Eugenio Dittborn, Three Trees. Airmail Painting No. 179, 2008, Tincture, stitching, embroidery, text, photosilkscreen on 3 sections of duck fabric, 210 x 210cm
Eugenio Dittborn, Where Everything is Twice. Airmail Painting No. 173, 2007, Tincture, stitching, text, photosilkscreen on 4 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, For Details, The Bristles of The Brushes. Airmail Painting No. 176, 2007, Tincture, stitching, embroidery, texido, photosilkscreen on 2 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, For Details, The Bristles of The Brushes. Airmail Painting No. 176, 2007, Tincture, stitching, embroidery, texido, photosilkscreen on 2 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, Nowhere Else. Airmail Painting No. 177, 2007, Tincture, stitching, embroidery, text, photosilkscreen on 4 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, The 29th History of the Human Face (Sopap.). Airmail Painting No. 168, 2007, Tincture, frotage, text, photosilkscreen on 3 sections of duck fabric, 210 x 210cm
Eugenio Dittborn, The 30th History of the Human Face (Alan 26a). Airmail Painting No. 171, 2007, Tincture, stitching, texido, photosilkscreen on 5 sections of duck fabric, 210 x 350cm
Eugenio Dittborn, The Threads and the Ropes. Airmail Painting No. 172, 2007, Tincture, stitching, embroidery, text, sateen, photosilkscreen on 4 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, Wan Tree, Too (Árbol Pálido, También). Airmail Painting No. 175, 2007, Tincture, stitching, embroidery, text, photosilkscreen on 3 sections of duck fabric, 210 x 244cm
Eugenio Dittborn, Storm Star. Airmail Painting No. 165, 2006, Tincture, sateen, stitching, embroidery, photosilkscreen on 2 sections of cotton duck fabric, 210 x 280cm
Eugenio Dittborn, Espejo Concavo. Airmail Painting No. 166, 2006, Tincture, sateen, stitching, photosilkscreen on 2 sections of cotton duck fabric, 210 x 280cm
Eugenio Dittborn, Ningún. Airmail Painting No. 169, 2004, Tincture, stitching, polygal, photosilkscreen on 2 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, Ningún. Airmail Painting No. 169, 2004, Tincture, stitching, polygal, photosilkscreen on 2 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, Corche. Airmail Painting No. 163, 2004, Tincture, polygal, sateen, stitching, photosilkscreen on 1 panel of duck fabric, 210 x 240cm
Eugenio Dittborn, Too & To. Airmail Painting No. 152, 2003, Tincture, photosilkscreen, sateen, stitching on 2 sections of duck fabric, 210 x 280cm
Eugenio Dittborn, Heráldica. Airmail Painting No. 156, 2003, Tincture, photosilkscreen, polygal, stitching on 2 sections of duck fabric, 280 x 210cm
Eugenio Dittborn, Heráldica. Airmail Painting No. 156, 2003, Tincture, photosilkscreen, polygal, stitching on 2 sections of duck fabric, 280 x 210cm
Eugenio Dittborn, Pequeña Escala (h.l.p.). Airmail Painting No. 143, 2002, Tincture, photosilkscreen, polygal, sateen, stitching on 1 section of duck fabric, 210 x 140cm
Eugenio Dittborn, Orilla Crusoe (h.l.p.). Airmail Painting No. 144, 2002, Tincture, sateen, stitching, photosilkscreen on 1 section of duck fabric, 210 x 140cm
Eugenio Dittborn, Desierta (h.l.p.). Airmail Painting No. 148, 2002, Tincture, sateen, stitching, photosilkscreen on 1 section of duck fabric, 210 x 140cm
Eugenio Dittborn, The 20th History of the Human Face (el Camino de Jope). Airmail Painting No. 120, 1997, Paint, embroidery, stitching, photosilkscreen on 6 sections of duck fabric, 210 x 840cm
Eugenio Dittborn, The Chinese Worker's Right Arm III. Airmail Painting No. 117, 1995, Paint, stitching, embroidery, photosilkscreen on 2 sections of cotton duck fabric, 210 x 280cm
Eugenio Dittborn, The 21st History of the Human Face (Colophonia). Airmail Painting No. 122, 1998, Paint, stitching, photosilkscreen on 2 sections of cotton duck, 210 x 280cm
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Eugenio Dittborn

Eugenio Dittborn lives and works in Santiago de Chile where he was born in 1943. In 1984 Dittborn started to paint on large sheets of brown paper, which he folded down to one-sixteenth of its size and sent in large envelopes through the international mail system. This allowed him to participate in international exhibitions and express his position as an artist concerned with the development of his society (Augusto Pinochet ruled the country from 1973 until 1990). The “Airmail Paintings”, that eventually changed to come as works on folded fabrics, became the core of Dittborns oeuvre and developed into a methodological reflection on painting, its distribution, its physical, local and global existence; and at the same time this work expressed an antithesis to the coherence of different canonized narratives such as history, identity, origin, destination and alike. Combining symbolic sources of different types and times, Eugenio Dittborn came to create counter-narratives that are able to integrate the sorrow about repression and destruction as they met peoples life’s and bodies, as well as the humor and flirting intelligence that make us deal with that sorrow in ways that open up to new conclusions.



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