Author: pato

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POSTERS PROJET 2019

Indigenous peoples and human rights: struggles and resistance yesterday and today

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From the Education Team we believe that it is important to know, demystify and open the debate on indigenous peoples in schools, since they were – from their beginnings in the 19th century – the main agents in the construction of hegemonic historical accounts of the Constitution of the National State, where it is disassociated and constantly denies indigenous presence as part of our regional identity. Our purpose is to disarm and deconstruct these ideas installed in the popular imagination about indigenous communities and offer students a space for reflection on the multiplicity of cultural identities that coexist in our region, as well as claiming and knowing several of the claims that these peoples have been trying to incorporate into the political agenda. Claims such as the legitimate right to possession of the territory and community property of the lands they traditionally occupy and of those suitable and sufficient for human development (art. 18 – Civil and Commercial Code of the Nation). As well as the inclusion and compliance of Bilingual Intercultural Education within the National Education Law (Law No. 26,206). It promotes a mutually enriching dialogue of knowledge between indigenous peoples and diverse ethnic populations that they promote an inclusive and multicultural education. It is of utmost importance and urgency to work cultural diversity with young people to disarm myths and prejudices, to identify the stereotypes that are reproduced, in order to achieve better coexistence and equality in diversity. We believe that working these themes within the educational field generates a multiplier effect inside the school and outside the institution, since the students replicate what they learn, promoting respect, solidarity and equal rights.
Work booklet
Poster Collection

Accompanying institution

We thank those who contributed theoretical material for the formation of the Team, offered support in the artistic tool and dedicated their time to orienting us on the subject matter worked on:

Instituto Nacional de Asuntos Indígenas (INAI).

Museo Etnográfico “Juan Bautista Ambrosetti” (Ffyl-UBA).

NAZZA

Cátedra Taller Experimental de la materia Ilustración de la carrera Diseño Gráfico (FADU- UBA).

 

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Reconstruction of th Portrait of Pablo Míguez

Claudia Fontes

Water reflections of the Río de la Plata on mirror polished stainless steel.
1999–2010

This piece was conceived of specifically for the site where it was installed: the Río de la Plata, into which many victims of State terrorism were thrown. The sculpture articulates the concepts of appearance/disappearance and is based on the portrait of an adolescent who was disappeared when he was only 14 years old. The work was inspired by the case of Pablo Míguez, who, if he were still alive today, would be the same age as the artist.

Claudia Fontes (Buenos Aires, Argentina, 1964) She studied at the Escuela Nacional de Bellas Artes «Prilidiano Pueyrredón» and undertook studies in Art History in the Facultad de Filosofía y Letras at the
Universidad de Buenos Aires. She received a mention at the Bienal de Arte Ciudad Joven (1993) and participated in the Taller de Barracas from 1994 to 1995 with a grant from Fundación Antorchas. She did a postgraduate residency at the Rijksadademie
van beeldende Kunsten in Amsterdam from 1996 to 1997, with support from the Foreign Relations Ministry of the Netherlands. In 1997 she received a grant for study abroad from Fundación Antorchas.  She is a founding member and coordinator of the trama project since its creation in 2000. She has had solo exhibitions since 1992 in spaces such as the Museo de Arte Moderno de Buenos Aires (mamba)
and the I.C.I. (Instituto de Cooperación  Iberoamericana), among others. She exhibited her work at the 2011 edition of the Frieze sculpture park in London and in The Worldly House at Documenta 13, Kassel (2012). Her work is part of the collection of
the malba (Museo de Arte Latinoamericano de Buenos Aires), mamba (Museo de Arte Moderno de Buenos Aires) and macro (Museo de Arte  Contemporáneo de Rosario) as well as private collections in Argentina and Europe. She currently lives and works in Brighton, England.

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Huaca

Germán Botero

Black Granite Absolut Brasil, Granite Sierra Chica, agua. 10.4 x 7.2 x 0.55 mt.
1999-2019

The name “huaca”, from quechua wak’a, concerns our Andean culture, the place where the symbolic exchange between life and death was performed. There, with their everyday and ritual objects, the pre-Hispanic inhabitants continued this other existence, understood as a continuum, a permanent conversation between life and death. In its more frequent definition, “huaca” specifically alludes to the monumental pyramid structures that represent one of the characteristic features of the central Andean region.

This sculpture refers to the dislocation caused by the absence of funeral ceremonies, a characteristic that applies to many of the detained-disappeared, and the break that this absence generates, not only of emotional ties to our loved ones, but also in relation to the cosmos. Therefore, the sculpture works as a ritual space that connotes our relationship with the earth to which we belong, and includes the presence of water as an element of life.

Germán Botero (1946, Frenso, Tolima, Colombia)
Painter, sculptor and architect, Germán Botero was born in Frenso, Tolima in 1946. He He graduated as an architect at the National University of Colombia in Medellín and was associate professor at the Faculty of Arts of the National University of Colombia. His early sculptural work made around the mid-1970s is inscribed within the modernist current that dominated the Colombian sculpture scene from the postwar period until the eighties. In the mid-1970s Botero began to build with linear elements forming aerial cubes of wood or anodized aluminum. In 1976 his work Torre de metal deserved the First Prize in  Sculpture XXVI Salón National Visual Arts. In Medellín his most important works are located in the El Tesoro Building and in the Camino Real Shopping Center.
In 1999 he won the International Memory Park Competition, Buenos Aires, Argentina and in 2003 the 200 years Contest of the University of Antioquia,
sponsored by the Mayor’s Office of Medellín, Colombia. He currently lives and works in Bogotá.

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To Human Rights

León Ferrari
Stainless steel rods on wooden beams, 6 x 3 x 3 m.
2011
Work awarded as a loan by the Foundation Augusto and Leon Ferrari -Art and Heritage.

This piece created by León Ferrari is a sonorous sculpture conceived of by the artist as an artifact for drawing sounds and creating musical, visual and tactile occurrences. As a poly-sensorial sculpture, music can be executed and performances can be created involving it. In Ferrari´s words: “You can touch my sculptures with your hands, with a violin bow, or however you like. I believe that the divisions in botany are quite adequate, where an intrinsic need for labeling exists. In art, this is absolutely dispensable”.

León Ferrari (Buenos Aires, Argentina, 1920 – 2013). In 1955, Ferrari began to make ceramic sculpture and from 1959 to 1960, carved wood pieces and wire 
structures. In 1962 he began his written drawings or abstract writing, drawings that were organized in lines similar totraditional writing format. For the Premio Di Tella in 1965, he presented La civilización
occidental y cristiana (Western Christian Civilization), a crucified Christ figure from a religious specialty shop mounted on a North American fighter-bomber, which was censored. He abandoned art that same year, limiting his activity to participating in group shows: Homenaje al Vietnam (Homage to Vietnam, 1966),
Tucumán arde (Tucuman is Burning, 1968) and Malvenido Rockefeller (Unwelcome Rockefeller, 1969), among others. In 1966, he composed the literary collage Palabras ajenas (Other People’s Words). In 1976, he made a compilation of news  items covering repression by the military dictatorship that he published with the title Nosotros no sabíamos (We Didn’t Know). That same year he left the country
for political reasons and settled in San Pablo, Brazil. In 1980, he produced a series of blueprint floor plans and developed a group of musical instruments that he
used in several performances. In 1983 he returned to the political-religious theme with collages and illustrations of the Bible that mixed Catholic iconography, oriental erotica and contemporary imagery. He returned to Buenos Aires in 1991, where he continued to make art against repression by either religious or political power. In 1996, he illustrated Nunca más (Never Again), the book published in
installments by Página/12 newspaper. In 2004 a retrospective show of his work was held at the Centro Cultural Recoleta, which provoked intense debates and aggression carried out by supporters of the Church. An anthology exhibition of his work was held in 2006 at the Pinacoteca do Estado de São Paulo in Brazil, and he simultaneously participated as a special
invited guest at the Bienal de São Paulo. In 2007, he was awarded the León de Oro at the 52 Esposizione Internazionale d’Arte organized by the Bienalle di Venezia. In 2009, the Museum of Modern Art (moma) held a retrospective exhibition of his work along with that of Mira Schendel, which was later shown at the Museo Nacional Centro de Arte Reina Sofía in Madrid and at the Fundação Iberê Camargo in Porto Alegre.

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Towers of Memory

Norberto Gómez

Corten Steel, 7,74 x 3,68 mt.
1999-2012 

This sculpture forms part of the series The Weapons created in the mid-1980s, composed of pieces that depict various torture instruments and medieval combat devices. The artist turns to the image of an enormous medieval mace to allude to the immense vulnerability of existence, to the torture practiced during the recent dictatorship, and to the symbols of power that inhabit all societies. In this way, the historical gap opens the possibility of reflect upon violence and abuse of power in the present day.

Norberto Gómez (Buenos Aires, Argentina, 1941) He studied at the Escuela Nacional de Bellas Artes «Manuel Belgrano» (Buenos Aires). In 1965 he traveled to Paris and worked in Julio Le Parc’s Studio. In 1976 he was awarded the Premio Marcelo De Ridder and in 1981, the Primer Premio de Escultura at the Montevideo Biennial in Uruguay. In 1991 he had a solo show at the Fawbush Gallery in New York and received the John Simon Guggenheim fellowship. He attended the III Simposio Internacional de Escultura en Guardalavaca, Cuba in 1994. One year later, a retrospective exhibition of his work was held at the Museo de Arte Moderno de Buenos Aires. In the year
2000 he showed sculpture at Galería Ruth Benzacar (Buenos Aires) and received the Premio a la Trayectoria from the Asociación Argentina de Críticos de Arte. He received the Premio Konex for his visual arts activity in 2002. In 2005 he participated in the
«Escultura – Objecto – Relecturas en la Colección del mamba» (Sculpture – Object – Rereadings in the mamba Collection) group show, held at the Museo de Arte Moderno de Buenos Aires. In 2006, he participated in the «30 años. Estéticas de la Memoria» (30 Years. Aesthetics of Memory) show at the Centro Cultural Recoleta (Buenos Aires) in commemoration of the thirtieth anniversary of the last military coup in Argentina. A retrospective show of his work was held at Fundación osde in 2011. His work forms part of the collections of the Museo Nacional de Bellas Artes, the Museo de arte Moderno de Buenos Aires and the Museo de Arte Contemporáneo de Rosario, among others. He currently lives and works in Buenos Aires.

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To think is a Revolutionary Act

Marie Orensanz

Steel cut. Two blocks of 6 x 2 x 0.80 mt each.
1999–2010

The text, cut into Steel, is read in the empty spaces and is completed by the landscape, which serves as a background. The sculpture –arranged in two contiguous blocks- has been installed in such a way that the viewer composes the text in his or her mind, participating in the process implied by its meaning. The piece alludes to the power of reflection and refers indirectly to the censorship of books and free thought.

Marie Orensanz(Mar del Plata, Argentina, 1936) She began her education studying with Emilio Pettoruti and attended Antonio Seguí’s studio. She would later undertake study trips to Europe, Mexico and the usa. In 1987 the monumental sculpture Liceo Blanc-Mesnil was installed and the book Communiquer de Marie Orensanz, by Guy Scharaenen, was published. She received the 3rd Prize from the Fundación Fortabat Maison de l’Amerique Latine in Paris (1994). She exhibited frequently in Europe and Argentina, where her latest presentations were at the Museo Nacional de Bellas Artes (1998), at the Museo de Arte  Moderno de la Ciudad de Buenos Aires (1999) and at Galería Ruth Benzacar (2000). In 2002 she received recognition from Fundación Konex for her merit in the areas of installation and performance. In late 2007 a retrospective show of her work was held at the Museo de Arte Moderno de la Ciudad de Buenos Aires, and the following year she participated in the «París – Tigre en Colectivo» (Paris – Tigre by Bus) group show at the Museo de Arte de Tigre (Buenos Aires, Argentina). In 2009 she presented «…pour qui?…les honneurs…» (…In Honor…of Whom?) at the School Gallery in Paris. In 2010, a sculpture in homage to Azucena Villaflor and the Madres de Plaza de Mayo
titled «Las raíces son femeninas» (Roots are Feminine) was installed in the city of Mar del Plata. She currently lives and works in Montrouge, France.

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Memory Signs

Grupo de Arte Callejero (GAC)
Urban intervention. 54 road signs of 2.60 m each. galvanized iron and reflective laminate.
1999–2010

This piece appropriates the visual language of traffic signs and makes use of images´ power of synthesis to establish effective communication with viewers. Camouflaged in the codes of street signage, the “signs” propose a route through Argentina´s recent history, accompanied by a written text that, as a manner of anchoring meaning, interlaces different voices in regard to the issue of State terrorism in Argentina.

Grupo de Arte Callejero (GAC). (GAC, street art group) This group comprises educators who graduated from the Escuela Nacional de Bellas Artes «Prilidiano Pueyrredón» (Buenos Aires) as well as
professionals from other careers, such as  Photography and Graphic Design. It was created in April, 1997 in response to a need to create a space where art and politics would form part of one same mechanism of production. Their works accordingly
question the boundaries between art and militancy. From the outset, they looked for an arena for visual communication beyond the tradition exhibition circuit, focusing on appropriating public space. Outstanding
examples of the actions and projects carried out include: «Docentes ayunando» (Teachers Fasting, 1997), «Juicio y Castigo» (Trial and Punishment, 1999), «Carteles viales» (Street Signs, 1999) and «Aquí viven genocidas» (Genocides Live Here, 2001).
In 2009 they published GAC – Pensamientos, prácticas, acciones (gac – Thinking, Practices and Action), with a prologue by Sebastián
Hacher and Ana Longoni, summarizing the group’s work and trajectory. In 2010, gac was selected to carry out the system of signage used for the ex-Centro Clandestino de Dentención esma. The group is currently made up by Lorena Bossi, Vanesa Bossi, Fernanda Carrizo, Mariana Corral and Carolina «Charo» Golder.

Historical journey
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30.000

Nicolás Guagnini

25 steel columns of 4 x 0.12 m. each.
1999–2009

This piece consists of 25 straight prisms that act as the support for a portrait of the artist´s father, disappeared in 1977. Viewers are onle able to compose the image of the face from one particular viewing point. While walking around the piece, each person finds the optimum point at which the face becomes composed, and it disappears again as soon as the viewer moves on.

Nicolás Guagnini (Buenos Aires, Argentina, 1966) He studied Drawing with Aída Carballo and Aurelio Macchi and attended Roberto Aizenberg’s studio. In  1991 he received the «Ciudad de México» grant and in 1994, the Premio Braque, awarded by the French Embassy. Since 1995 he has been writing articles and
interviewing different artists, publishing these texts in specialized magazines. In 1997, he and Karin Schneider founded Unión Gaucha Productions, a recognized experimental film company. In 2002 he
presented the «Homo Ludens» solo show at Galería Ruth Benzacar in Buenos Aires. In 2005 he founded the Orchard Gallery in New York. Among the group shows he has participated in, those deserving special
mention include those held at the Museo de Arte y Diseño Contemporáneo de San José, Costa Rica (2004), at the Museo de Arte Moderno de Buenos Aires (2005) and at the University of Wyoming Art Museum (2009). During 2006 he participated in the
«Desaparecidos» (Disappeared) itinerant group show, presented at the Elizabeth Dee gallery in New York, the Centro Cultural Recoleta, the Centre Cultural Suisse in Paris and the Museo del Barrio. In 2008 he
participated in the «Art Forum» conference at Harvard University. During 2009 he exhibited «Wrong» at the coma Gallery in Berlin. He also worked as Adjunct Professor at the Parsons School of Design in New
York and organized the «No» conference along with David Joselt at Yale University. He participated in the «Art School» and «No Career» panels organized by Dena Yago at Columbia University and in «The
Sites of Latin American Abstraction» at the Museum of Latin American Art in Long Beach, California during 2010. He currently lives and works in New York.

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Victory

William Tucker

White concrete and broken stone 7.60 x 6 x 1.30 m
1999–2001

The artist projected a geometric form, broken and incomplete, that alludes to the truncated lives of the dissappeared. The construction process for the piece is closely related to its symbolic significance. Concrete was poured into a mold excavated into the ground at the installation site and once set, the piece was raised vertically, in a metaphorical reference to revealing that which remained secret during the dictatorship.

William Tucker (Cairo, Egypt, 1935). He studied at Oxford University, at the Central School of Art and Design and at St. Martin’s School of Art in London. He received grants from Leeds University (1968), the Guggenheim Foundation (1980) and the National Endowment for the Arts (1986). He participated in the Paris Biennial (1961), the Venice Biennial in 1972, and that in Sydney in 1976. Outstanding among his  works installed in public spaces are «The Promise», Grove Isle Sculpture Gardens, Miami (1982); «Victory», 5th Avenue, New York (1983); «Gymnast II» (Museum of Modern Art in New York, 1986); and «Maja» (Nice), Parque de Esculturas de Bilbao, Spain (1998). He has exhibited regularly in the world’s leading galleries and museums since 1960. In recent years, he has shown
on reiterated occasions at the McKee Gallery in New York. His works can be found in the collections of the DeCordova Museum in Massachusetts; the Storm King Art Center in Mountainville (New York); the Runnymede Sculpture Farm en Woodside, California;  the Leeds City Art Gallery; the Tate Liverpool; the Royal Academy of Arts and the Tate Britain, both in  London. In 2010 he was awarded the career recognition prize by the International Sculpture Center. He currently lives and works in Massachusetts, USA.

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Untitled

Roberto Aizenberg

Rolled bronze: 3.90 x 5 x 1.70 m. Sculpture made from a sketch by the artist
2003

The sculpture was carried out on the basis of one of the artist´s original sketch and refers to his family. Valeria, being pregnant, Martín and José, Maltide Herrera´s children, Aizenberg´s life partner, all of them disappeared between 1976 and 1977. Therefore, taking into account this individual story, one may allude to all victims of State Terrorism. In this group portrait the contours enclose a void that indicates the absence of their bodies, while at the same time marking their indelible presence. The piece interacts with the landscape as the River Plate appears through its figures; the river being the final destiny of many of the victims.

Roberto Aizenberg (Capital Federal, Argentina,
1928-1996) He began to study painting in Antonio Berni’s studio and continued his education with Juan Battle Planas between 1950 and 1953. In 1969, he had an exhibition at the Instituto Di Tella titled «Obras 1947/68» (Works 1947/68) which earned him recognition. Following his children being disappeared in 1976, he sought exile in Paris. In 1981 he moved
to Tarquina, Italy, and three years later, returned to Buenos Aires. He was awarded the Premio Konex-Diploma al Mérito in both 1982 and 1992, and was the guest of honor at the Feria de Galerías Arte BA in
1995. In September, 2001 an important retrospective show of his work was held at the Centro Cultural Recoleta, curated by Marcelo Pacheco. Since 2003, one of Aizenberg’s works has figured in the series of «Pintura Argentina» postcards issued by the Correo Argentino. In 2013, the «Roberto Aisenberg, Transcendencia/Descendencia» (Roberto Aisenberg, Transcendence/ Descendants) show was held at the Museo Colección Fortabat, curated by Valeria  González, bringing together sixty-five works by the artist along with production by several contemporary artists. The show aimed to highlight the influence that his work had on subsequent generations.

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