Monographic book
The Lydia Azout Monograph is a journey through matter, void, and the sacred.
What Azout leaves behind extends beyond her sculptures; she offers us spaces where the soul can find its way back into alignment.
The Lydia Azout Monograph offers an in-depth account of five uninterrupted decades of artistic practice. The result of more than a year of research and editorial work, the publication traces the evolution of Azout’s work and its enduring contribution to Colombian and Latin American modernism.
Designed and edited by Manuela López Anaya, the volume features critical essays by Eugenio Viola and Gustavo Villamor, alongside a photographic survey of Azout’s most recent works by Camilo George Jimeno. The project was coordinated and produced by Dot Fiftyone Gallery in collaboration with Rebeca Schapiro.
Measuring 30.5 × 30.5 cm and spanning 250 pages, the monograph reflects a thoughtful approach to editorial design and production. The first edition, limited to 250 copies, was printed by Akian Gráfica in Buenos Aires in February 2026.
Presentación
The Lydia Azout Monograph offers an in-depth account of five uninterrupted decades of artistic practice. The result of more than a year of research and editorial work, the publication traces the evolution of Azout’s work and its enduring contribution to Colombian and Latin American modernism.
- 254 pages
- Hardcover edition
- Spanish / English
- Color photograph
- Imágenes de obras y series clave.
- Ensayos y textos curatoriales sobre su trayectoria.
Sobre el libro
Diseñado y editado por Manuela López Anaya, el volumen reúne textos críticos de Eugenio Viola y Gustavo Villamor, acompañados por un registro fotográfico de las obras más recientes de la artista realizado por Camilo George Jimeno. La coordinación general y logística del proyecto estuvo a cargo de Dot Fiftyone Gallery, con la colaboración de Rebeca Schapiro.
A Portal into Matter, Void, and Form
A volume that offers an intimate encounter with Lydia Azout’s practice, revealing the ways in which form, void, and ritual converge throughout her sculptural language.