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Regina Silveira

Aldrich Contemporary Art Museum

January 29–June 10, 2012

Regina Silveira: In Absentia (Collection) (2012)

Regina Silveira: In Absentia (Collection) (2012)
Installation View; The Aldrich Contemporary Art Museum

Regina Silveira: In Absentia (Collection) (2012)

Regina Silveira: In Absentia (Collection) (2012)
Installation View; The Aldrich Contemporary Art Museum

Regina Silveira: In Absentia (Collection) (2012)

Regina Silveira: In Absentia (Collection) (2012)
Installation View; The Aldrich Contemporary Art Museum

Regina Silveira: In Absentia (Collection) (2012)

Regina Silveira: In Absentia (Collection) (2012)
Installation View; The Aldrich Contemporary Art Museum

Regina Silveira; Masterpieces: In Absentia (Man Ray) (1998); Vinyl

Regina Silveira; Masterpieces: In Absentia (Man Ray) (1998); Vinyl
Dimensions Variable; The Aldrich Contemporary Art Museum (2012)

Regina Silveira: In Absentia (Collection) (2012)

Regina Silveira: In Absentia (Collection) (2012)
Installation View; The Aldrich Contemporary Art Museum

Regina Silveira; In Absentia (LedisFlam) (1993); Painted wood and silkscreen

Regina Silveira; In Absentia (LedisFlam) (1993); Painted wood and silkscreen
14.56h x 20w x 2.19d in (36.98h x 50.8w x 5.56d cm); The Aldrich Contemporary Art Museum (2012)

Regina Silveira; Masterpieces: In Absentia (Meret Oppenheim) (1993); Vinyl

Regina Silveira; Masterpieces: In Absentia (Meret Oppenheim) (1993); Vinyl
Dimensions variable; The Aldrich Contemporary Art Museum (2012)

Regina Silveira Tropel (2009-2011); Vinyl; Dimensions variable

Regina Silveira
Tropel (2009-2011); Vinyl; Dimensions variable
The Aldrich Contemporary Art Museum (2012)

Press Release

In Absentia (Collection)
The Aldrich Contemporary Art Museum
Ridgefield, CT

Regina Silveira's exhibition includes a series of absent artworks presented at the Aldrich, an institution that is itself without a permanent collection. With this exhibition, Silveira provides a series of iconic masterpieces while simultaneously paying homage to the masters she currently finds relevant. As she revisits these works in her own style, she presents us with empty pedestals, backed by the gigantic and distorted vinyl shadows of recognizable, yet absent, modern works.