A REFLECTION ON THE HISTORY OF MODERN ART IN ARGENTINA – BIENALSUR AT MUNTREF
“Pistas” (Clues would be the literal translation), inaugurated on October 27th at the MUNTREF Artes Visuales Sede Caseros I, in Buenos Aires, is an exhibition that brings together works from the collections of the Emilio Pettorutti Provincial Museum of Fine Arts and the MUNTREF. The exhibition, curated by Diana Wechsler, seeks to trace some historical-artistic journeys of 20th century Argentina, and includes works by such prominent artists as the Argentineans Emilio Pettorutti, Antonio Asís, César Paternosto, Alfredo Gramajo Gutiérrez, Ennio Iommi, Juan Melé, Pablo Páez, Javier Plano, Alejandro Puente, Víctor Rebuffo, Carlos Sessano, Clorindo Testa and Daniel Santoro, the Italians Juan Del Prete and Líbero Badíi, the Spanish Pompeyo Audivert and the German Anne-Marie Heinrich, among others.
The exhibition is held within the framework of BIENALSUR, the biennial that emerged at the University of Tres de Febrero, in Argentina, and is held simultaneously in 124 venues, 24 countries and 50 cities around the world, between July and December and with the participation of around 400 artists.
Referring to one of the works that marks the beginning of modern art in Argentina, and that is a part of “Pistas”, the curator Wechsler, who is also the artistic director of BIENALSUR, reflects:
-
Imágenes cortesía BIENALSUR
-
Imágenes cortesía BIENALSUR
"El Lápiz del Maestro” (The Teacher’s Pencil, 1936) is the title of the work by Emilio Perttoruti that is part of the MPBA collection. Conceived at the crossroads of two plastic traditions, that of an abstractizing geometry that dominated the work and that of a naturalistic figuration, which is identified in the way the pencil is treated, this work becomes an indicative object to think about some of the trajectories of Argentinean modern”, Wechsler points out.
Based on Pettoruti’s work and in the presence of these two expressive schools that molded the productions of different artists during the 20th century, “Pistas” exhibits an indicative starting point to trace some of Argentina’s different historical-artistic routes.
"Pistas" has the support of the Government of the Province of Buenos Aires, and can be visited free of charge from Monday to Saturday between 12 and 8 pm.
Related Topics
May interest you
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
BIENALSUR INAUGURATES “A TURN WITH NO SCREW: URBAN IMAGINATIONS” AT THE BENITO QUINQUELA MARTÍN MUSEUM
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
BIENALSUR INAUGURATES “A TURN WITH NO SCREW: URBAN IMAGINATIONS” AT THE BENITO QUINQUELA MARTÍN MUSEUM
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
BIENALSUR INAUGURATES “A TURN WITH NO SCREW: URBAN IMAGINATIONS” AT THE BENITO QUINQUELA MARTÍN MUSEUM
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
BIENALSUR INAUGURATES “A TURN WITH NO SCREW: URBAN IMAGINATIONS” AT THE BENITO QUINQUELA MARTÍN MUSEUM
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
AN ANGEL, COLUMBUS, WRESTLERS AND A PAIR OF WINGS: THE COUNTER ALLEGORY AS A RESIGNIFICATION OF HISTORY
The echoes of the bells from the Church of San Ignacio of Loyola, in Buenos Aires, resound on the stones of the old Manzana de las Luces historical complex, one of the last buildings from the colonial era that survive in the city’s historic center. The place, which through the centuries has been a convent, a Museum of Natural Sciences and even a Faculty, transpires hispanic barroqueness. It is now a museum without a permanent exhibition; it is, in its way, a monument of its own. In the courtyard, the spectator looks upwards and there stand the balconies of the old cloisters, higher up the glass and steel walls of the skyscrapers of the financial district and, poised on the museum’s ceiling, observing this ancient patio, an unwinged angel that looks out of place. And it is. Or maybe not.
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
BIENALSUR INAUGURATES “A TURN WITH NO SCREW: URBAN IMAGINATIONS” AT THE BENITO QUINQUELA MARTÍN MUSEUM
The exhibition places the matter of "ways of living" in the La Boca area, linking works that reproduce utopias and failures of modernity. Curated by Diana Wechsler, Benedetta Casini and Leandro Martínez Depietri, this new exhibition in Buenos Aires brings together the works of artists from the BIENALSUR Open Call and historical and contemporary artists that make up the collections of the Emilio Pettoruti Provincial Museum of Fine Arts, of the Banco Ciudad, the Benito Quinquela Martín Museum and the IIAC-UNTREF Archive.
