Sofia Bohtlingk (Buenos Aires, 1976) explores the poetics of painting: she has done so through performative actions; through reflections on geometry; through references to the body. Regarding one of her works, the writer María Gainza observed that “if [the artist] opened her arms like the Vitruvian Man, her size corresponded exactly to the size of the squares”.

Her works record traces of actions, choreographies of rhythmic gestures or the traces of the canvas that, as it folds and falls, marks its surface. By thematizing both painting and the body, the passage of time becomes a central element. In this sense, wrinkles and roughness function as traces the works’ construction process, but also point out the traces that time digs in the skin, generating a metaphorical equivalence between the outer layer of the body and the support of the painting. Lucrecia Palacios notes that some of her pieces leave apparently unfinished areas on the canvas in view, “as if they were not trying to build an image, but to show the register of the rough contact between the brush and the support”.

In 2010-2011 she was awarded participation in the Fifth edition of the Kuitca / UTDT scholarship within the framework of the Art Department of the Universidad Torcuato Di Tella, directed by Guillermo Kuitca. She has participated in numerous solo exhibitions, including Ilusión y bochorno (2023) and Espada at Galería Nora Fisch (2017); Las confesiones at Museo de Arte Contemporáneo de Rosario (2012). In 2019 she won the Third Prize in the Senior Category awarded by the Amalita Foundation.

In 2021 she made Asamblea de pájaros, a video and performance developed together with Florencia Rodríguez Giles and Julieta García Vázquez, commissioned by the Museo de Arte Moderno de Buenos Aires. Among numerous group shows, she has participated in Cuerpos Blandos, a project directed by Lucrecia Palacios in dialogue with the exhibition Reina de Corazones by Delia Cancela at the Museo de Arte Moderno de Buenos Aires (2019); in Sacarse el sombrero para saludar at Proa 21, directed by Santiago Bengolea; and Dixit curated by Sarah Demeuse and Javier Villa (2017). In 2016 she participated in Las decisiones del tacto, one of the exhibitions that encompassed “En el ejercicio de las cosas” within the framework of Argentina Plataforma ARCO, curated by Sonia Becce and Mariano Mayer, Madrid (2017) and in the XIX Premio Fundación Klemm a las Artes Visuales.