Graciela Hasperborn 1966, Argentina
Graciela Hasper

“Abstraction is like connecting inwards. For me, painting happens with your eyes shut. It is not a representation of the world, it is a representation of ideas.”


During a trip to Europe in 1987, Graciela Hasper realized for the first time that she wanted to make art. She returned to Argentina and began her studies with other artists: between 1987 and 1991, she studied with Diana Aisenberg, while also pursuing independent studies of philosophy and art history. In part because of Argentina's dictatorship, Hasper never attended art school.


In 1993, Hasper participated in an exhibition curated by Jorge Gumier Maier, Nicolás Guagnini, and Pablo Siquier, held at the Centro Cultural Rojas de Buenos Aires. Titled Crimen y Ornamento, the exhibition subsequently was shown in New York, curated by Carlos Basualdo. This was one of the first exhibitions to explicitly link the generation of 1990s artists in Buenos Aires with mid-century abstraction, and the artists included became known as the Rojas group. “In Argentina, abstraction was repressed because it did not ‘explain’ national values. It had no value. So I adopted something that had no value and tried to make it valuable, an act of resistance. My work reflects the way a younger artist can respond to Madí, to the abstraction of the 1940s and 1950s,” Hasper says in a later interview with Lilly Wei.


Since the 1990s, Hasper’s painting aesthetic has been clean and direct, marked by sharp orthogonal lines and bright color. In 2000, she completed her first residency in the United States, at Apex Art in New York with a Fulbright / FNA Grant. In 2002, she participated in the Chinati Foundation residency. Her most recent work has expanded to a larger scale, even encompassing architectural interventions. “I’m trying to expand the boundaries of painting in order to include the body,” she notes. For her 2013 project for the city of Buenos Aires at Museo de Arte Moderno de Buenos Aires (MAMBA), Nudo de Autopista, Hasper painted the columns of several intersecting knots of highways in Buenos Aires. The resulting color scheme marked the different flows of traffic on the streets: “you experience the materiality of the work, and you’re surrounded by it.”



2013: Graciela Hasper: Gramática del Color, Museo de Arte Moderno de Buenos Aires (MAMBA), Buenos Aires, Argentina
Nudo de Autopista, Museo de Arte Moderno de Buenos Aires (MAMBA), Buenos Aires, Argentina

2012: Galería Zavaletalab, Buenos Aires, Argentina
2011: Galeria Sur, Punta del Este, Uruguay
Graciela Hasper, Sicardi Gallery, Houston, TX, USA

2010: Galería Ruth Benzacar, Buenos Aires, Argentina

2007: Galería Art-Cade, Marseille, France

2006: Galería Ruth Benzacar, Buenos Aires, Argentina

2004: Galería Ruth Benzacar, Buenos Aires, Argentina

2003: Annina Nosei Gallery, New York, NY, USA
2002: Fondo Nacional de las Artes, Buenos Aires, Argentina
Locker Plant, Chinati Foundation, Marfa, TX, USA
2001: Geografía, Instituto de Cooperación Iberoamericano, Buenos Aires, Argentina
1999: Mi Hermano y Yo, Alianza Francesa, Buenos Aires, Argentina
1995: Es roja, Centro Cultural Ricardo Rojas, Buenos Aires, Argentina
Universidad Torcuato Di Tella, Buenos Aires, Argentina
1992: Centro Cultural Ricardo Rojas, Buenos Aires, Argentina
1991: Instituto de Cooperación Iberoamericana, Buenos Aires, Argentina
1990: Centro Cultural Recoleta, Buenos Aires, Argentina

Graciela Hasper’s work has also been shown in numerous important group exhibitions, including Encuentros / Tensiones, Museo de Arte Latinoamericano de Buenos Aires (MALBA, 2013); Geometricos Hoy, Museo Caraffa Cordoba and Centro Cultural Bicentenario, Santiago del Estero (2012); Intercambio Global: Abstracción Geométrica desde 1950, Museo de Arte Contemporáneo de Buenos Aires (MACBA, 2012);  Recovering Beauty: The 1990s in Buenos Aires, Blanton Museum of Art, Austin, Texas (2011); Arte Argentino Actual en la Colección de MALBA, Obras 1989-2010, MALBA, Buenos Aires (2011); Objetos de una Pasión, Centro Cultural Borges, Buenos Aires (2009); From Confrontation to Intimacy: An exhibition of Argentine Contemporary Artists, 1960-2007, Americas Society, New York (2007); La ciudad y el río, Fundación Proa, Buenos Aires (2006); Project Row Houses, Houston, Texas (2003); Últimas tendencias, Museo de Arte Moderno, Buenos Aires (2002); Premio Costantini, Museo Nacional Bellas Artes, Buenos Aires (2000); Rational Twist, Apex Art, New York (1996); Once por Once, Museo Provincial, Tucumán (1993); Crimen y Ornamento, Centro Cultural Ricardo Rojas, Buenos Aires (1993); and Pictorica, Museum of the Americas, Washington, DC (1993).



Banco Ciudad de Buenos Aires, Argentina

Banco Supervielle, Buenos Aires, Argentina

The Bruce and Diane Halle Collection, Scottsdale, AZ, USA

Colección Cesar Gaviria Washington

Colección Francis J. Greenburger, New York, NY, USA

Colección Jennifer Wooster, CA, USA

Colección Laurent Degryse, Los Angeles, CA, USA

Colleción Eduardo Costantini, Buenos Aires, Argentina

Colleción Patricia Phelps de Cisneros, New York, NY, USA

Deustche Bank, New York, NY, USA

Faena Collection

Museo Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina

Museo Castagnino de Rosario, Argentina

Museo de Arte Contemporáneo, Madrid, Spain

Museo de Arte Latinoamericano de Buenos Aires - Fundación Costantini, Buenos Aires, Argentina

Museo de Arte Moderno de Buenos Aires, Argentina

Museo de Bellas Artes – Museo de Arte Contemporáneo de Bahia Blanca, Buenos Aires, Argentina

Museo Nacional de Bellas Artes, Argentina

The Museum of Fine Arts, Houston (MFAH), Houston, TX, USA

Telefonica Argentina, Buenos Aires, Argentina


For full CV please download the PDF below.

Download PDF