Works by artists Pablo Siquier, Cristina Piffer and Tomás Espina were donated to the Museo Nacional de Bellas Arts in Buenos Aires and its counterpart in Neuquén.
This year, in the context of arteBA’s 25th anniversary, the Foundation donated three works from its patrimony.
Two of these, both the 2001 piece titled 0110 by Pablo Siquier, an acrylic on canvas measuring 172 x 127 cm and Senda Patria (Homeland Path), from 1999 by Cristina Piffer, a piece made with slabs of beef and polyester resin, 122 x 300 cm, were donated to the Museo Nacional de Bellas Artes in Buenos Aires. The Museum held the Interferencias en la Colección Bellas Artes (Interference in the Fine Art Collection) show, which proposed juxtaposing works from the Museo Nacional de Bellas Artes collection with a group of pieces from the ‘90s and the first decade of the 2000s made by artists from different generations that would interfere with the permanent collection’s linear, chronological narrative, ranging from the Middle Ages to the 19th Century.
The show was curated by Fernando Farina and Santiago Villanueva, and it included works by León Ferrari, Jorge Gamarra, Daniel García, Teresa Pereda, Santiago Porter, Juan Carlos Romero and Clorindo Testa, along with pieces recently incorporated into the collection by Pablo Siquier and Cristina Piffer, donated by Fundación arteBA; by Feliciano Centurión, donated by his family; by Mónica Millán, ceded by the artists and by the group Mondongo, on loan for the occasion.
On the other hand, the piece (Habitación quemada) La furia de Léucade [(Burned Room) Lefkada’s Fury] by Tomás Espina, recipient of the Premio arteBA-Petrobras de Artes Visuales in 2009, now forms part of the collection at the Museo Nacional de Bellas Artes in Neuquén. The artist executed the work in the framework of the Premio arteBA-Petrobras, and in 2009 he commented on it: “I am going to make a room and on walls that are completely burned and covered in soot, draw fragments (deranged, intersecting, overlapping) of ‘The Triumph of Death’ by Pieter Bruegel. It is very likely that I won’t manage to reconstruct the entire scene (above all considering the conditions and urgency with which I generally make these drawings) but that doesn’t worry me at all; I think the less control I have over these images, the better.” The inauguration for this piece at the Museum was held on Friday, May 6, 2016.