Kuitca purchased “The Complete Guide to London West End Theaters.” He immediately left London and began work on a new series of paintings, “Puro Teatro,” which experimented with views of auditoriums as seen from their stages. Intrigued by the pared-down visual language of such charts and the idea of private individuals navigating public landscapes, Mr. A chart in the box office intended to help ticket holders locate their seats caught his eye, he said. Kuitca began to explore the visual and philosophical opportunities of seating plans one evening in 1994, when he was buying tickets to Strauss’s “Rosenkavalier” at the Royal Opera House in London. (Evidence of his exploration can be seen in two concurrent shows: “Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980-2008,” which opens on Friday at the Miami Art Museum, and “Performance/Art,” a group show at the Dallas Museum of Art, from Thursday through March 21.)īest known for his metaphysical depictions of maps and architectural blueprints, Mr. The stage curtain which will appear in the opera house’s Margaret McDermott Performance Hall is also his first, though he has been exploring images of theaters for years. But this is his first collaboration with architects. Kuitca, an Argentine artist, has previously designed the sets for two operas in Buenos Aires: a 2002 production of Federico Garcia Lorca’s “Casa de Bernarda Alba,” performed in Teatro San Martin, and a 2003 production of Richard Wagner’s “Flying Dutchman,” at Teatro Colón. Kuitcas Mozart-Da Ponte I (1995), part of a show coming to the Miami Art Museum.

Orchestra terrace winspear opera house