PRIMERA EDAD
leticia obeid
JUL 16. — oct 04. 2025
works
DIPTYCH. Untitled and Traducción de Douglas Gordon, 1999
Leticia Obeid
Pencil and ink on paper + Ink and collage on paper
11.7 x 8.3 in and 14.1 x 8.3 in
Untitled, 2000
Leticia Obeid
Watercolor, colored pencil, pencil and scoring on paper
16.5 x 11.8 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
Untitled, 2000
Leticia Obeid
Ink, colored pencil, pencil, market, canvas and scoring on paper
11.6 x 16.5 in
BACKROOM WORKS
TEXT
PRIMERA EDAD
Drawings, photographs, videos, texts, objects, and documentation of early actions make up this body of work, traversed by experimentation and the blending of languages. Far from a nostalgic gaze, Primera edad proposes a return to origins as a way of activating the present: what was being explored during those years—the hybridity of media, the emergence of writing as a plastic and conceptual gesture, the boundaries between disciplines—continues to drive Obeid’s work today.
The title refers to an archival concept: the “first age” is the stage in which documents are alive, in use, active. But it can also be read as a formative and vital age, where meanings are grounded, gestures refined, and possibilities rehearsed. The exhibition is accompanied by a booklet in fanzine format, co-produced with Ripio editora, bringing together memories, hypotheses, and impressions from those years—a text where the archive becomes memory, fiction, chronicle, and thinking out loud.
Primera edad revisits a key moment not only in the artist’s biography but also in the landscape of Córdoba’s art scene in the late 1990s, and allows us to recognize, in its material and poetic layers, a sensibility that continues to resonate in the present.
