1945 - 2003
A chronological journey through the life and work of Venezuelan artist Diego Barboza, from his birth in Maracaibo to his lasting legacy as a pioneer of conceptual and participatory art in Latin America.
Diego Barboza is born on the shores of Lake Maracaibo, in the state of Zulia, Venezuela. This region would profoundly influence his work, particularly his later painting "El Lago soy yo" (The Lake is Me).
Barboza receives his artistic education in Venezuela, developing his foundational skills in traditional media while being influenced by his mother, Maria Barboza, who collected photographs of famous men and encouraged him to become "a big man, famous."
Barboza travels to London, England, marking a pivotal moment in his artistic career. He becomes immersed in the vibrant counterculture movement and begins developing his participatory art philosophy of "Arte como gente/gente como arte" (Art as people/people as art).
On March 7, 1970, Barboza presents his first major work of Conceptual Art in London: "30 Muchachas con redes" (30 Girls with Nets). This groundbreaking performance marks the beginning of his conceptual art period and introduces participatory art to Venezuelan contemporary practice.
November 4, 1970: Barboza performs "El Ciempiés" at Alexandra Park during the "Celebration of Life" event in London. Participants enter a large fabric centipede structure, creating a living, moving sculpture that exemplifies collective creativity and cooperation.
July 1972: Barboza performs "Expression Danger King-Kong" at Oval House Gallery in London. This participatory work features a large poster of King Kong and Fay Wray, with audiences invited to cut out the figure. The day-long event includes drinking chicha, making piñatas, playing, painting, and singing.
Barboza launches his groundbreaking mail art project "Buzón," collaborating with French artist Julien Blaine to create an international network of over 100 artists across five continents. The project publishes two tabloid editions featuring mail art from around the world, predating the internet as a global artistic community.
April 1973: Barboza brings "Expression Danger King-Kong" to Centro Plaza in Caracas, Venezuela. This iteration incorporates a tobacco ritual performed by naive artist Elsa Morales, with King Kong replaced by Maria Lionza, a Venezuelan folkloric figure. The audience participates by smoking tobacco while cutting out the figure and wearing it on their chests.
July 1974: The final iteration of "Expression Danger King-Kong" at Galería BANAP features colorful children's dolls, large glasses added to both King-Kong and Maria Lionza, and handwritten suggestions for audience activities. This concludes one of Barboza's most significant participatory art series.
Barboza returns to Venezuela after his transformative years in London, bringing with him the revolutionary concepts of participatory and performance art. He becomes a pioneer in introducing these art forms to the Venezuelan contemporary art scene.
Four of Barboza's mail art drawings are included in the "American Biennale of Graphic Arts" at the Museum de la Tertulia de Cali, Colombia. He participates in the "Pencil and Paper" group exhibition at the Museum of Modern Art in Bogotá, Colombia, and at the Museum de Arte Contemporânea da Universidade de São Paulo, Brazil.
Barboza transitions from conceptual art to neo-figurative painting, creating a unique style informed by his conceptual art background. His paintings explore personal narratives, Venezuelan cultural identity, art historical appropriations, and themes of family and domestic life. As Milagros Bello writes, he "opened a new chapter in Latin American Neo Figurative painting."
Barboza creates "From the School of Athens to the New School of Caracas" (1985), his final major participatory work that bridges his conceptual art period with his painting practice. This work demonstrates how his participatory philosophy continued to inform his return to traditional media.
Barboza creates "CORONACION," a deeply personal portrait of his mother dressed as an angel with a halo, yet with a small devil at her feet. The work captures the complexity of his mother's character—angelic to her son, yet capable of strict discipline. A friend analyzing the work concluded that Doris Spencer Barboza (Diego's widow) was the little devil, as she imposed discipline in the home. Oil on canvas, 57 4/16 x 79 4/16 in. (146 x 202 cm).
Barboza fulfills his promise to paint a beautiful portrait of his wife Doris. Using a black Andalusian shawl borrowed from a friend—which had belonged to her mother who fled Germany during war—he painted Doris wearing the shawl in red. Dr. Carlos Silva titled it "El collar prometido" (The Promised Necklace). Oil on canvas, 57 4/16 x 79 4/16 in. (146 x 202 cm).
A deeply personal work about regret and love. After selling two cherished works—a portrait of his mother and "Maternity" (a nude of Doris with baby Claudia)—Barboza recreated them in this complex composition. On the left, he painted himself painting Claudia inside a playpen; on the right, faithful copies of the sold works. A testament to his love for family and desire to preserve these memories. Oil on canvas, 43 5/16 x 70 13/16 in. (110 x 180 cm).
The Museum of Contemporary Art of Zulia (MACZUL) selects 13 artists for an 8-day boat trip along Lake Maracaibo's coast. Barboza creates "El Lago soy yo" (The Lake is Me), revealing symbolism from his childhood: his parents conceiving him, Zulia's oil tower and map, lake fish, milk pitchers, San Benito (patron saint of Zulia), his native hat, self-portrait in adolescence, himself rowing like natives, and the Maracaibo bridge. A profound autobiographical statement: "The Lake is Me." Oil on canvas, 57 4/16 x 79 4/16 in. (146 x 202 cm).
A witty reinterpretation of Leonardo da Vinci's Mona Lisa (1503-1519). Barboza paints himself as an aged subject holding his cat. When Doris asked, "Why did you paint yourself so old?" he replied: "Do you know how much time has passed since Leonardo painted La Gioconda? That was 1503-1519, and now in 1991 is when I come to paint it—that's why my portrait is of an old man, representing the time that has passed." This masterful appropriation challenges European art historical canon from a Latin American perspective. Oil on canvas, 49 2/8 x 39 3/8 in. (125 x 100 cm).
Inspired by musicians playing trumpets in Plaza Bolívar, Caracas, and visits to Libertador Simón Bolívar's house, Diego creates this whimsical painting imagining the great liberator joining street musicians playing jazz. The work captures his love for Venezuelan history and the vibrant street culture that brought life to the historic plaza. Oil on canvas, 62 x 53 cm (24 3/8 x 20 7/8 in.).
A touching pastel portrait of Diego's mother as he remembered her, sitting with scissors cutting out newspaper and magazine figures of famous men—writers, scientists, doctors, poets. She would paste some on her room walls and keep others in a box. On weekends she showed him each photograph, explaining who they were and why they were famous, ending with: "Son, I want you to be a big man, famous." This work captures the profound influence his mother had on his artistic ambitions. Pastel on paper, 40 x 28 in. (101.5 x 71.1 cm). Sold upon completion.
Barboza continues developing his neo-figurative style, creating works that bridge conceptual rigor with personal narrative, exploring themes of Venezuelan identity, family relationships, eroticism, and art historical appropriation. His paintings maintain the participatory spirit of his earlier work through narrative engagement.
Barboza revisits his iconic "Expression Danger King-Kong" concept, creating "Cuidado King Kong y Maria" as a pastel and frostwork on paper (110 x 83 cm), preserving the visual language of his revolutionary 1970s performance piece. This work demonstrates how his conceptual art period continued to resonate throughout his career.
Diego Barboza dies in Caracas, Venezuela, at age 58, leaving behind a transformative legacy as a pioneer of conceptual art, performance art, mail art, and participatory practice in Latin America. His philosophy of "Arte como gente/gente como arte" continues to influence contemporary social practice art. His work continues to be exhibited internationally and studied by scholars worldwide.
Diego Barboza's work continues to be exhibited internationally, studied by scholars, and celebrated as foundational to Latin American conceptual and participatory art. Museums and collectors preserve his legacy, and his philosophy of "Art as people/people as art" remains relevant to contemporary social practice art.
The Diego Barboza Estate launches a comprehensive digital archive and website to preserve and promote the artist's legacy, making his work accessible to researchers, educators, collectors, and art enthusiasts worldwide.
View the complete collection of Diego Barboza's works in our gallery
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