Alicia Díaz Rinaldi: a legend of Argentine art

A woman who revolutionized the art of engraving in Argentina with her talent. A master of masters, both in our country and abroad, she decides today to dazzle with her paintings
Trying to cover the work of Alicia Díaz Rinaldi, within the art of our country, is an impossible task due to the magnitude of her production. The book that was presented last year at the National Museum of Fine Arts: “Alicia Díaz Rinaldi, Original and Multiple”, gives us an approximation to her life and work.

She made art her reason for being, and according to her own words, she was clear about it from the age of 14. She began studies with the great master Víctor Chab (1958-1962) and already in 1967, still very young, she received a scholarship from the Argentine Embassy to begin classes and improve her engraving and graphic techniques at the Museum of Modern Art in Botafogo, Rio de Janeiro. Upon her return, with new research and approaches, she raised the position of engraving within the visual arts of the time, turning it inside out. She introduced the Colagraph technique, experimented with new supports and began to work on the three-dimensionality of the work.
She was co-founder of “Grupo 6” (1984-1990) which, from individual perspectives, had a strong influence on the graphic arts, having its first exhibition at the Museum of Modern Art (1985). Its other members were: Olga Billoir, Mabel Eli, Zulema Maza, Graciela Zar and Matilde Marín.

She was and is teaching with great enthusiasm in Argentina and abroad, from where she was and is in demand. She says that her travels allowed her to cover and learn a lot about art and, in this way, apply all of this to her works and to teaching. In fact, the publication of the aforementioned book has the purpose of transmitting her experience to the new generations. All her works, whether singular or grouped in countless series, go beyond aesthetics and absolute mastery of techniques, but also reflect her vision of society and the problems of human beings.

Her committed work led her to carry out in museums and institutions of the highest level the following: 54 individual exhibitions, 21 of which were abroad; 76 collective exhibitions, of which 44 were abroad; she obtained 24 awards, of which 10 were international. The countries range from the United States, Canada, Australia, almost all of Latin America to almost all of Europe, not only exhibiting but also teaching.
This necessary brief introduction is because, after a meeting I had with her, she tells me that she decided to paint, and that is how she exhibited a large number of acrylic works at the “Espacio de Arte Pérez Celis” of the UNLaM Universidad de la Matanza, where she states that her objective is in the order of the playful, I would add in good porteño that whatever Alicia decides to do she “does it in a little way”, which does not leave aside her vision of reality that I transcribe verbatim: “My work speaks of the coexistence between two orders: the chaos represented inside the plane with different textures and lines that run through it and the order in forceful black planes or full of color.
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