MUSEO NACIONAL DE BELLAS ARTES
Libero Badii, Antonio Berni, Mildred Burton, Feliciano Centurión, Magda Frank, Santiago García Sáenz, Nicolás García Uriburu, Alfredo Hlito, Alfredo Londaibere, Mariette Lydis, Liliana Maresca, José Luis Menghi, Orlando Pierri, Ana Sokol, Pablo Suárez
In a project conceived and coordinated by Violeta Mansilla and Santiago Villanueva, UV exhibited works by major twentieth-century Argentine artists in a show designed by Hoco Huoc. In conjunction with the daylong event held on Saturday, July 27, Agustín Ceretti reworked the logo of the Museo Nacional de Bellas Artes (MNBA). The wall text consisted of a letter Santiago Villanueva had written in 2015 to the director of the museum at the time requesting a meeting to propose that the museum “stop acquiring work.” The show opened at 5PM with a Conference on Argentine Art History. Participants included artists, curators, critics, and historians.
Private collectors loaned work for the event. Hoco Huoc’s exhibition design placed paintings and sculptures against heavy embroidered curtains and made use of old turquoise boards; the walls in the dimly lit space were covered with fabric with holes through which a drawing by Nicolás García Uriburu (Buenos Aires, 1937-2016) or a collage by Antonio Berni (Rosario, 1905-Buenos Aires, 1981) could be seen. Other works lay under translucent fabrics. The sculpture Pequeñas visiones (Small Visions, 1995) by Libero Badii (Arezzo, Italy, 1916-Buenos Aires, 2001) seems to represent a miniature seascape inside a box-fish tank. The sculpture itself is made from a cardboard perfume box, an empty blister pack, and bright pieces of scrap paper resting on a drawing. A bronze sculpture by Magda Frank (Cluj-Napoca, Romania 1914-Buenos Aires, 2010) rested on a marble base that was, in turn, placed on a pedestal. From the heights of one of the curtains, an intervened blanket by Feliciano Centurión (San Ignacio, Paraguay 1962-Buenos Aires, 1996) proclaimed in handwritten letters, “Your presence is confirmed in us.” The painting by Mildred Burton (Paraná, 1942-Buenos Aires, 2008) next to it, held in an impressive golden frame, has cracks on the bottom left side. Inside the thick rectangular border are images of hard-to-identify objects. On the remaining walls were paintings by Santiago García Sáenz (Buenos Aires, 1955-2006), Alfredo Hlito (Buenos Aires, 1923-1994), Alfredo Londaibere (Buenos Aires, 1955-2017), Mariette Lydis (Vienna, 1887, Buenos Aires, 1970), José Luis Menghi (Buenos Aires, 1904-1985), Orlando Pierri (Buenos Aires, 1913-1991), Ana Sokol (Lviv, the Ukraine 1902-Buenos Aires, 1989), and Pablo Suárez (Buenos Aires, 1937-2006). Resting on a third pedestal was El altar, a sculpture by Liliana Maresca (Avellaneda, 1951-Buenos Aires, 1994) that served as the dais from which the lectures were delivered.
Paola Vega opened the conference by reading texts by Manuel Mujica Lainez and María Moreno on the life and work of Ana Sokol. Josefina Carón then read fragments from her book on Calixto Mamaní. Facundo René Torres read a text by Juan Laxagueborde on a painting by Mildred Burton that he lent to the show from his personal collection. Paula Castro read a text on Aníbal Brizuela. During the break, Emilio Bianchic did a performance in which he painted a parrot with his feet to the rhythm of a song by Axel. In the second session, Carla Barbero reflected on Cuqui, a writer from Cordoba. Juan Cruz Pedroni read an essay on critic Julio Payró and artist Gustavo Cochet. Pablo Schanton read a text he had written on the respective functions of self-run venues and public museums in contemporary art. In the third session, Guadalupe Creche read a text by Gaspar Núñez on Leonardo Iramain; Maricel Nowacki read a text on Santiago García Sáenz; and Delfina Bustamante read a text on an unknown artist. Julián Sorter did a performance that included a lottery of works to be proposed for acquisition to the MNBA (the performance ended in a race that started at UV’s entrance). Juliana Laffitte did a performance based on a collage by Berni. The event closed with a screening of the documentary Chucalezna, directed by Jorge Prelorán in 1968 and edited by the Fondo Nacional de las Artes.
Content produced by arteBA. Annual Report on contemporary Argentine art