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ENGLISH VERSION RETROSPECTIVES

others due to their creative strength and her way of dealing with art and the system. Latin American, of placing herself on the
inexhaustible continuity. Marta Minujin: Among several works on display at the international scene as a Latin American
Live, on view from this Saturday (29/7) Pinacoteca, El Batacazo (1965) stands out, woman. One of the most iconic works, and
at Pinacoteca Luz, reaffirms this maxim as it was awarded at the Instituto Di Tella in eminently political, is the one that reflects
by displaying an allegorical, interstellar, Buenos Aires (1963/1969), when the space on the hole that the Argentine military
timeless production, which celebrates was the epicenter of the Argentine avant- dictatorship lef in the government’s coffers.
60 years of art and delirium by the iconic garde and where international celebrities The curator recalls that during the period
Argentine artist. passed through. From happenings, to of redemocratization, inflation became
Everything that can be seen behind this installations and settings, almost nothing unavoidable and debt with international
aesthetic repertoire has already broken escaped the programming of this iconic powers went through the roof. Then, in 1985,
conventions, created a lot of noise and does institute that was pulsing along Calle Minujín commented on this episode in the
not dissociate life and work, also fed by Florida. The Di Tella International Prize Argentine photoperformance con maíz,
collective energies produced by famous became a showcase for the art world, “el oro Latinoamericano” (The payment of
friends such as Allan Kaprow, pioneer of the when the institution formed links with Argentina’s foreign debt with corn, “the
happening and the legendary Andy Warhol. important museums such as MoMA and Latin American gold”), in which she and
The public arriving at the Pinacoteca is influential galleries, such as that of art Andy Warhol personified stereotypes of
greeted by a giant 17-meter inflatable work, dealer Leo Castelli, in New York. With their countries of origin: in this case, an
the Escultura de los deseos (Sculpture of this award, Minujín caught the attention Argentine debtor and an American creditor.
desires, 2022), in which Minujín explores the of Aldo Pellegrini, poet, essayist and art While Minujín forged a payment based on
plastic nature of the materials that produce critic, who participated in the jury, but the bags of cereal, inflation rates in Argentina
rhythm. This work with a festive atmosphere one who launched it, in fact, was Romero reached very high peaks.
was made for Lollapalooza Argentino. The Brest, who ran Di Tella. Between 1970 and Another path that Minujín adopted
refined cut by Ana Maria Maia, curator of 1980, Minujín became an international artist, to intervene in the regional geopolitical
the exhibition, brings dozens of works that known for her unique performances and imaginary was by acting in public space,
make up the “opera” Minujín, a synthesis installations. as seen in the works that occupy one of
of the typical desires of an artist born and The artist has always worked in Brazil, the exhibition rooms. Af er El obelisco
socialized with ambitious and productive where she has many friends. In 1978, at the acostado (The fallen obelisk), from 1978,
triggers, with a clear objective of creating invitation of critic Walter Zanini, she was part which created the monument’s imaginary
an unmistakable authorial art. of the Visual Poetics exhibition at the Museum journey from Praça da República, in Buenos
The exhibition is not traveling, it was of Contemporary Art at the University of São Aires, to the interior of the São Paulo Biennial
designed and desired by the Pinacoteca, Paulo (MAC USP), organized by Julio Plaza Foundation pavilion, Minujín began to create
according to the curator. “Latin America is and Zanini, who at the time was director of a series of oversized projects to be installed
on the museum’s agenda for the next few the museum. Months later, he participated in on streets in different cities and countries.
years, and Minujín appears as one of the the 1st Latin American Biennial of São Paulo, Today the artist has several of them and
first names on the list. We started visiting whose theme was Myths and magic, which continues to be invited to create many more.
her studio in Buenos Aires at the beginning was transformed into the parody Myths and
of last year.” The exhibition was designed vadios, an intervention organized by Ivald exhibition são paulo [pages 54 and 55]
together, and the works chosen are the Granato in a parking lot on Rua Augusta,
guiding thread of a production that crosses with performances by several artists, such CRITICISM AND
several international art movements. The as Minujín , Oiticica, Aguilar and Regina Vater. EROTICISM TEMPER THE
director of the Pinacoteca, Jochen Volz, The conceptual arc of the exhibition
highlights in the catalog that the idea of covers neoconcretism, tropicália, EXHIBITION ‘MOQUECA
holding an exhibition by Minujín dates psychedelia, among other movements DE HUSBANDS’
back to 2018, when the artist participated present in Minujín’s production. In one of Denilson Baniwa’s art translates the
in the collective Women radicals: Latin his media processes, in 1976, he created the indigenous universe with activism, trials
American art, 1960-1985, organized by action Comunicando con tierra, in which he and research
Cecilia Fajardo-Hill and Andrea Giunta. proposed exchanging Latin American soil by leonor amarante
Minujin’s inaugural exhibition was in with interlocutors from across the continent.
1959 at the Teatro Agón in Buenos Aires, Marta went to Machu Picchu, in Peru, and the gallery a gentil carioca arrived in
when she was just 16 years old. Two years collected 23 kg of earth, dividing it into São Paulo a year and a half ago and installed
later she obtained a scholarship from the one-kilo packages, and sent 23 of them to its expanded space in a charming cul-de-
National Endowment for the Arts, which artists in different cities in Latin America. sac, in Higienópolis. Denilson Baniwa is
allowed her to settle in Paris, where she In Brazil, it was José Roberto Aguilar who currently exhibiting a set of works with the
started the habitable structures, covered mixed the land received with that of São humorous title Husbands stew, bringing
with mattresses found among the waste Paulo, and Hélio Oiticica combined the together works that address concepts he
from Parisian hospitals. In 1963 she created land of Machu Picchu with that of Rio de defends, such as the impact of the colonial
La Destrucción, her first happening, when Janeiro. Af er receiving all 23 mixtures, she catechesis system on indigenous people
she brought together works with mattresses returned to Machu Picchu where she buried and the preservation of the culture of all
and invited colleagues to destroy them. It everything back. ethnicities. Denilson is an activist and also
was the beginning of an eventful life with Minujín of en says that politics gets in works in advertising, digital culture and
international performing experiences that the way of creation, but, in fact, her work hacking, building indigenous imagery that
allowed her, at a young age, to create an touches on politics in her own way, on the circulates in magazines, films and tv series.
innovative female voice in the competitive summoning of the body, on insurgency I visit the exhibition with him. All the works
and closed Buenos Aires artistic scene at the in dance, on play, on games. Ana Maria on display have to do with his research into
time, dominated by artists dressed in tweed remembers that the artist has important contact between the Western world and
and ties. Opening paths, Marta invented series that talk about the fact that she is indigenous people. Denilson talks about
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