More than 150 works of fine art arrive at the Kirchner Cultural Center

“Contemporary scenes.  Tours of the collection of the National Museum of Fine Arts.  Argentine art 1960-2001 exhibited at CCK from August 4th
“Contemporary scenes. Tours of the collection of the National Museum of Fine Arts. Argentine art 1960-2001 exhibited at CCK from August 4th

The National Museum of Fine Arts displays in Kirchner Cultural Center the sample Contemporary scenes. Tours of the collection of the National Museum of Fine Arts. Argentine art 1960-2001which can be visited from August 4, with free admission.

The exhibited collection includes paintings, engravings, sculptures, photographs and installations by one hundred emblematic Argentine artists, such as Carlos AlonsoAnd the Antonio BerniAnd the Juan Carlos DestefanoAnd the Sarah FasioAnd the Leon FerrariAnd the Nicholas Garcia OreboroughAnd the Carlos GurririnaAnd the Gyula KosicAnd the Julius Le ParkAnd the Liliana MariskaAnd the Marta MinogenAnd the Louis Philip NoahAnd the Liliana PorterAnd the Narcissa HirschAnd the Diana Dweck s Antonio Seguyamong other things.

The exhibition organized by the two institutions can be viewed in halls big lampon the sixth and seventh floors of Kirchner Cultural CenterMore than 150 works by Argentine artists belong to the collection National Museum of Fine Artswhich was created between the 1960s and 2001. The exhibition is sponsored by Mariana MarchiTechnical Director of museumdivided into five thematic tracks, each of which functions as a small exhibition in its own right.

“South Highway” (1980), by Leon Ferrari

The long list of artists with works featured in the exhibition includes Marcos AdandiaAnd the Diana EisenbergAnd the Carlos AlonsoAnd the Libero BadiAnd the Elba PeronAnd the Charlotte BeltrameAnd the Luis Fernando BenedictAnd the Pearl BenvenistAnd the Antonio BerniAnd the Marcelo BunyordiAnd the Martha PutuAnd the Marcelo BrodskyAnd the Mildred BurtonAnd the John Joseph CamberAnd the Delia cancelsAnd the Grace CarnivalAnd the Riccardo CarpaniAnd the Jose CasalesAnd the Feliciano CenturionAnd the Elda SeratoAnd the Eduardo CommissanaAnd the Edward CostaAnd the Alicia D’AmicoAnd the Mirtha DermisachAnd the Juan Carlos DestefanoAnd the Hernan DombeAnd the Diana DweckAnd the Anne EckelAnd the Naomi ScandelAnd the Nobody’s coolAnd the Sarah FasioAnd the Leon FerrariAnd the Luis FrangellaAnd the Jorge GamarraAnd the Nicholas Garcia OreboroughAnd the Edgardo JimenezAnd the Hector GiuffreAnd the Fine GomezAnd the Norbert GomezAnd the Carlos GurririnaAnd the Victor GriboAnd the Edward GrossmanAnd the Jorge Gomer MayerAnd the Maria Juana Heras VelascoAnd the Alberto HerediaAnd the Narcissa HirschAnd the Robert JacobiAnd the Gyula KosicAnd the William KoetkaAnd the Alexander KurupatwaAnd the David LamilasAnd the Benito Eugenio LarinAnd the Julius Le ParkAnd the AdrianaAnd the Edward LongoniAnd the Mark LopezAnd the Paula LautringerAnd the Liliana MariskaAnd the Paul MessiganAnd the Marta MinogenAnd the Marcela MauganAnd the Louis Philip NoahAnd the Mary OrensensAnd the Margaret BaksaAnd the Julio PantogaAnd the Aldo PaparellaAnd the Ariadna PastoriniAnd the Cesar PaternostoAnd the Luis BuzosAnd the Perez CelesAnd the Doilio PierreAnd the Christina BeaverAnd the Jorge PerozziAnd the Marcelo PomboAnd the Liliana PorterAnd the Alfred PryorAnd the Alexander BridgeAnd the Norberto PozzoloAnd the Delilah BozovioAnd the Manuela RaguidoAnd the Emilio RenardAnd the Edward RodriguezAnd the Alfredo Rodriguez AriasAnd the Juan Carlos RomeroAnd the Grace SakoAnd the Robin SantantoninAnd the Hugo SberniniAnd the Christina ChiaviAnd the Marcia SchwarzAnd the Magdalena SchwartzAnd the Antonio SeguyAnd the Maria SimonAnd the Raoul Stolkiner (RES)And the Paul SuarezAnd the folk serigraphy workshopAnd the Joaquin Torres GarciaAnd the John TravnikAnd the Miguel Angel VidalAnd the Edgardo Antonio FigoAnd the Roman VitaliAnd the Julie WeissAnd the Louis Albert WellsAnd the Horace ZabalaAnd the Helen Zoet.

boss Fine artsAnd the Andres Dobratexpressing this unique event open to the community and which brings the public together many artists of the highest caliber, fame and trajectory: “We are pleased to put this exhibition together because, in addition to presenting a selection of important pieces of Argentine art from the collection museumillustrating, in a joint work, two related cultural institutions: National Museum of Fine Arts and the Kirchner Cultural Center. The first, a centenary museum that preserves one of the most important visual memories, and the second, the newest and most modern cultural center in Argentina.”

“A Model and Landscape in Yves Saint Laurent” (1966), by Delia Cancella and Pablo Messigin

“Through independent tours, questions of history, identity, artistic practice and the contexts of their production during the last decades of the twentieth century are raised at the local level,” he explains. Marchesy.

“It is about looking at the issues that crossed Argentine society and culture between the 1960s and 1990s ‘Adding Curator.'” Each hub explores the work that emerged in times of alternating democratic and military governments; proposals that defy the law, from the radical ruptures of the avant-garde in the 1960s to redefining the place of Painting in the Eighties: Dilemmas of Latin American Aesthetics, and the Intervention of the Body as Support for a Work of Art or as a Political Practice.

contemporary scenes It can be visited until December 11, with free admission, in rooms on the sixth and seventh floors of Kirchner Cultural CenterFrom Wednesday to Sunday, from 14 to 20.

“The Unknown Hands” (1976/2019) by Carlos Alonso

The exhibition suggests five possible ways.

Round 1: Art Rules Challenge

Near the middle of the twentieth century, the development of technology, the emergence of mass media, and the immediacy of communication had an impact on everyday life. These processes formed a new society characterized by vertigo and the speed with which the images were circulated. The perception of time and space has changed in an unprecedented way. A new way of looking at the world has given rise to a new sensitivity. The concept of beauty is no longer a critical element for defining art. At that time, avant-garde movements arose that sought to transcend the boundaries of painting and sculpture, to integrate art and life, high and low culture, real space and representation. Aesthetic proposals ceased to focus on the production of unique artistic objects, delivered to the passive contemplation of the viewer, becoming multiple experiences integrating different artistic disciplines. In many cases, they have suggested turning their backs on traditional institutions, such as museums and galleries, to take to the streets and work directly on reality.

“The Changing Structure of the Four Elements” (1967-2018), by Noemi Eskandel

Way 2: Pictures, history and memory

Can the story be read with pictures? The tour of this room suggests doing this exercise to reflect on the way artists have responded with their productions to the conditions of their contemporary contexts, as well as to reflect on the place of society in the construction of history and memory. This visual chronology between two moments of urban uprising still in the imagination is framed as dates in which collective action determined the changes of society: Cordoba, in 1969, and the crisis of 2001. During those thirty years of alternating democratic governments and dictatorships or the rearming of the social fabric in Democracy, the pictures dealt with ideas of violence, freedom, destruction and reconstruction. They rose up with anti-dictatorship force, as a cry for freedom, as instruments of claiming rights and demands. The power of images lies in their ability to become dynamic elements that act as states in which social processes are activated, where our stories are written or where we build a collective memory.

“Victory” from the series “Body to Body” (1996/2011) by Graciela Sacco

Round Three: The Future of Painting

Even when at the end of the sixties, as a result of the emergence of avant-garde movements, the “death of painting” was proclaimed, this practice never lost its validity. In the 1980s, as democracy was recovering in Argentina, many artists began to understand the practice of painting as a space in which to shed light on the intersection of disciplines and the influence of countercultural environments, which were real areas of social freedom and creativity. Whether from a traditional perspective or through the hybridization suggested by intersections with other disciplines, painting over three decades redefined its place in the artistic field and was permeable to the problems that art experienced at that point. In many works of that period, artists reflected on the nature and importance of painting. By integrating it with other practices (music, theatre, poetry, photography) they made it hybrid, interdisciplinary and sometimes transformed it into a teamwork. By creating new spaces for production and circulation, they were able to coexist with more traditional spaces, such as museums and galleries, they expanded their possibilities for social and cultural integration and, in turn, broadened their audience.

Madonna (1983), directed by Diana Eisenberg

Round 4: Abstraction, American Identity

Beginning in the 1970s, the traditions of the ancient American peoples re-emerged as a key ingredient for a rethinking of regional aesthetics. as a starting point constructive globalPosted by the Uruguayan painter Joaquin Torres Garcia In the 1930s, a number of artists and cultural critics revived the idea that a sense of abstraction was already present in American Indian textile designs, pottery, and architecture. In this way, they sought to reinforce the idea that abstract and constructive art had its roots in the cultures of our ancestors rather than in Western avant-garde movements. plural National Museum of Fine Arts It contains some of the most notable examples of this aspect that emphasize other ways of understanding art, its history, and our culture.

“The Blue Chair” (1972) Pablo Suarez

Way 5: Rethinking Bodies

From the pioneering experiments of the 1960s to the collaborative and countercultural practices of the 1980s and 1990s, this hub suggests thinking about diversity and sexual minorities as areas of dissent. New views of the body challenged both established social paradigms and artistic traditions. In this exercise of difference, aesthetic canons have also been questioned and disarmed. Over the last decades of the twentieth century, many images and actions served as support and catalyst for critical and ideological positions. Thus, they have gone beyond a mere disrespectful gesture to become aggressive and disobedient images that approach the body not only as a means of aesthetic action, but also as a political problem.

* Kirchner Cultural Center, Sarmiento 151, Kappa

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