Barbero, Carla, Arroyuelo, Javier (ed.), Delia Cancela: Reina de Corazones, 1962-2018, Buenos Aires, Museo de Arte Moderno de Buenos Aires, 2018→
Fajardo-Hill, Cecilia, Giunta, Andrea (ed.) Radical Women: Latin American Art, 1960-1985, Los Ángeles, Hammer Museum y DelMonico Books/Prestel, 2017→
Herrera, María José, Pop! La Consagración de la Primavera, Buenos Aires, Fundación Osde, 2010
Los pies en la tierra, los ojos en el cielo, Museo Nacional de Bellas Artes, Neuquén, September-November 2019→
Delia Cancela: Reina de Corazones, 1962-2018, Museo de Arte Moderno de Buenos Aires, Buenos Aires, November 2018-March 2019→
Pablo & Delia, The London Years 1970-75, Judith Clark Gallery, London, May-July 2001
From her abstract work in the 1950s to her soft sculptures made from cloth, Delia Cancela’s art has explored the obligations imposed on women in patriarchal society, gender stereotypes regarding how they dress, and female symbolism and sexuality. Her artistic career path has included an association with the Instituto Torcuato Di Tella (ITDT), the hub of the Argentine avant-garde in the 1960s, involvement with the European fashion scene in the 1970s and 80s, and work with techniques such as collage, drawing and painting, as well as wardrobe design, exploring fabrics on mannequins in her studio and bodies in fashion shows.
In 1964, D. Cancela began a creative partnership with Pablo Mesejean (1937-1991). Together they did installations, paintings, and wardrobe design for ITDT employees (Señalización de los empleados del Di Tella [Signage for Di Tella Employees], 1967) and stage sets for performances (Dance Bouquet, 1965, Drácula, 1966 and Aventuras, 1967). In 1965, at the Galería Lirolay in Buenos Aires, they presented their environment Love and Life, comprised of music, performances and a wall-to-wall representation of astronauts and spaceships. In those years they also did portraits of Elvis Presley, Bob Dylan and Jean Shrimpton combined with images of clouds, hearts and floral bouquets.
After their first visit to Paris, in 1968, D. Cancela and P. Mesejean returned to Buenos Aires and held a fashion show with non-professional models, Ropa de Reisgo [Risky Clothing]. They put out a fashion magazine, Yiyisch, which they showed at the exhibition Experiencias‘ 68 at the ITDT. The next year, they left Argentina for New York, and then London in 1970, where they founded a brand called Pablo & Delia and made covers for Vogue and Harper´s Bazaar. By the mid-1970s, then living in Paris, the work of this duo was based on the conception of clothing as a language and as a collective creative process involving the participation of models.
D. Cancela’s almost two decades of production with P. Mesejean came to an end in 1980. Gradually, she began to consider clothing as a kind of soft sculpture (Sin título [Untitled], 2018), no longer a part of the fashion world but meant to cover multiple bodies and be shown in specific spaces. In her performance Coser y cortar [Sew and Cut, 2000] at the Centro Cultural Parque de España in Rosario, she covered a cloth soft sculpture with lapacho tree flowers that fade rapidly, a direct reference to her unwavering ecological concerns. Her paintings of those years returned to the representation of landscapes and nature as female bodies, a theme that first appeared in her 1962 Páginas Vogue [Vogue Pages].
In recent years, D. Cancela has combined her cloth work with an intense dedication to painting and drawing, continuing to employ an iconographic vocabulary including flowers, hearts and portraits. Some of her most notable works are a series of paintings in homage to Pierre Bonnard (1867-1947), such as Te odio, te amo. Te amo, te odio y cómo llego a amarte a pesar de todo [I Hate You, I Love You. I Love You, I Hate You (and How I Manage to Love You Despite Everything, 2012)] and the production of pieces made of books wrapped in fabric, on which she portrays writers, filmmakers, musicians and other celebrities (the series Mis favoritos [My Favourites], 2005-2009).
A notice produced as part of AWARE’s academic network, TEAM: Teaching, E-learning, Agency and Mentoring
Delia Cancela, Las chicas no salen solas [Girls don’t go out alone], 1960, oil, plastic, fabric, paper on canvas, approx. 60 x 85 cm, missing artwork (photograph in black and white but original work in colors)
Delia Cancela, Pags de Vogue [Vogue Pages], 1962, collage made with the original page of the magazine Vogue of the time, collage on paper, 36.2 x 27.5 cm, Proyecto Bachué Collection, Bogotá, Archivo Delia Cancela
Delia Cancela, Corazón destrozado [Destroyed Heart], 1964, oil on canvas and agglomerate, taffeta ribbons, 150 x 250 cm, Private collection, Archivo Delia Cancela
Delia Cancela, Pablo Mesejan, Ticket to ride, 1965, was part of the installation and performance Love and Life, synthetic enamel on canvas and wood, 170 x 418 cm, Patrimonial Museo Provincial de Bellas Artes Emilio Pettorutti Collection, Photo Museo Provincial de Bellas Artes Emilio Pettorutti
Delia Cancela, Pablo Mesejan, Jean Shrimpton y nube [Jean Shrimpton and cloud], 1966, synthetic enamel on fabric and wood, missing artwork
Delia Cancela, Pablo Mesejan, Revista Yiyisch [Yiyisch Magazine], 1968, offset print, 40 x 30 cm, Artist’s collection, Archivo Delia Cancela
Delia Cancela, Pablo Mesejan, Titania, drawing for Sueño de una noche de verano [A Midsummer Night’s Dream], 1968, costume mock-ups for the play of the same name, 29 x 39 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Pablo Mesejan, Cortejo (Oberon), drawing for Sueño de una noche de verano [A Midsummer Night’s Dream], 1968, costume mock-ups for the play of the same name, 29 x 39 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Pablo Mesejan, Caterpillar and Shrimp, 1970-2015, diptych, original Vogue magazine cover, leather and acrylic caterpillar, variable dimensions, 23 x 30 cm, Artist’s collection, Archivo Delia Cancela
Delia Cancela, Pablo Mesejan, Chicas y macetas [Girls and flower pots], 1971, drawing on paper, 25.3 x 35.5 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Elsa Shiaparelli, from the series Mis Favoritos [My Favorites], 2005-2009, graphite and acrylic on canvas, 42 x 21 x 7 cm, Artist’s collection, Photo Celeste Leeuwenburg
Delia Cancela, Homenaje a Bonnard. Te odio te amo (y cómo llego a amarte a pesar de todo) [I Hate You, I Love You. I Love You, I Hate You (and How I Manage to Love You Despite Everything)], B in black, 2012, series of 5 pieces, each defined by a color, colored tapestries and pastel on canvas, 140 x 177 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Ofelia (“Venez à moi cher little Nemo, venez vite vers moi” o “Ophelia, la conciencia del mundo suspendida”), 2015, ink, pencil and yard embroidered on canvas, approx. 700 x 170 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Falbalas, 2017, soft sculpture, fabric, 40 x 150 cm, Artist’s collection, Photo Pablo Mehanna
Delia Cancela, Sin título [Untitled], 2018, apron tribute to women artists, ink, pencil, yarns, on soft sculpture of canvas and tulle, variable dimensions, 60 x 450 cm, Artist’s collection, Photo Pablo Mehanna