Monochromes II: Micro-stories

Monochromes II: micro-stories, is a group exhibition of Marcelo Boullosa, Adriana Cimino Torres, Eduardo Costa, César Paternosto and Horacio Zabala. Curated by María José Herrera, is presented as the continuation of Monochromes exhibition at the Recoleta Cultural Center in 2010. This exhibition aims to recognize, ten years later, other possible stories in the “monochrome spectrum”, a type of artistic object that is defined more by the reductive character than by the use of a single color.

As Herrera referred in 2010, “the monochrome is resignified within contemporary art, filtering through the interstices of the international and local tradition, developing a reviewing art concepts and perception established by avant-garde movements. The current monochromes can refer to themes and narratives that modernist orthodoxy would have called spurious.

Among the works present in the exhibition are paintings, drawings, engravings and sculptures of artists of two generations that pay tribute to the expression “less is more”, but do not get satisfied only with that.

Growing in parallel with the field of modern Latin American art, with a greater international presence, MCMC emphasizes the expansion of the aesthetic knowledge of Argentine art, providing a careful approach to the important legacy of the artists it represents.

Monocromes II: micro-stories

Monochromes or bichromes, it seems that it is the color that defines these objects. However, it is not so. It is the reductive spirit, the will to bring to the minimum expression some of the characteristics that define the plastic phenomenon, either color, matter, composition, meaning, the common element of this set. In this sense, the monochrome has a vast Argentine tradition that connects it with the Invention Concrete Art, the Madí, the Perceptism, the Neoconstructivism of the 40s and its counterpart, the informalism. Both trends generated works of distinctive local identity.

 Contemplation of the void, delight for the texture, for the brief gesture of a line, astonishment for the matter that exposes itself, or for the fictions of the representation, the micro-story that implies a contemporary monochrome  -no matter how brief it is- turns on itself. Play with the limits of genres and disciplines. The monochrome points outs the edges, the conceptual or physical margins, as a scope ofresignification. Towards there it leads our gaze so that it pokes bewildered or fascinated, in the beauty of the idea.

María José Herrera

Eduardo Costa

Eduardo Costa (1940, Buenos Aires) is an argentine artist who lived twenty five years in the US and four in Brazil. He started his career in Buenos Aires as part of the Di Tella generation and continued to work in NYC, where he made a strong contribution to the local avant-garde. He collaborated with American artists Vito Acconci, Scott Burton, John Perreault and Hannah Weiner, among others. In Brazil, he participated in projects organized by Hélio Oiticica, Lygia Pape, Antonio Manuel, Lygia Clark, and others from the school of Rio. His work has been discussed in Art in America, Art Forum, and in the main books on conceptual art: A. Alberro, MIT, 1999; P. Osborne, Phaedon, 2002; Mari Carmen Ramírez and Héctor Olea, Yale/Houston Museum of Art, 2004; Inés. Katzenstein, MoMA, New York, 2004, Luis Pérez- Oramas and others, San Antonio Museum of Art, 2004; Luis Camnitzer, Uni- versity of Texas, 2007, among others.

In 2017 the Tamayo Museum of Mexico has a retrospective exhibition of the artist called: “Mental Relations”.

His works belong to the following collections: The Museum of Modern Art, New York; The Metropolitan Museum, New York; Museum of modern Art in Río de Ja- neiro; Modern Museum of Art of Buenos Aires; Museum of Fine Arts of Buenos Aires; Jumex Collection, Mexico DF; Mercantil Bank in Cara- cas, and other insti- tutional collections.

He has exhibited at the New Museum, New York; Victoria and Albert Mu- seum, London; Reina Sofía Museum, Madrid; MIT List Visual Arts Center, Mass .; Miami Art Museum, Miami; Jumex Foundation, Mexico City; Vienna Secession, Vienna, Austria; Lisson Gallery, London; Museum of Modern Art, Rio de Janeiro; Museum of Modern Art, Sao Paulo; Museum of Modern Art, Buenos Aires; National Museum of Fine Arts, BA; Malba- Fundación Costan- tini, BA; Tamayo Museum, Mexico and others. He lives and works in Buenos Aires.

César Paternosto

César Paternosto (1931) was born in La Plata, Argentina. He is a painter and sculptor. Since 1967 he lived in New York and in 2004 he moved to Segovia (Spain) where he presented a retrospective exhibition at the Contemporary Art Museum Esteban Vicente with the curatorship of Tomás Llorens. In 1969, Paternosto started a series of white and uniform works and began to paint on the wide edges of the frame.

In 1972, he won the Guggenheim Scholarship. He had numerous solo and group exhibitions both at the United States, as well as in Latin America and Europe. In 2010 the architects Rafael Moneo and Pedro Elcuaz invited him to intervene the lobby of the Atocha Station in Madrid for which the artist ideated an arrangement of colored rectangles that seem to appear and disappear as the traveler or viewer walks by. He recently exhibited at the Museum Thyssen-Bornemisza in Madrid (Spain) at the exhibition called “Towards Painting as Object” that established a dialogue between paintings by the artist and works from the museum’s personal collection (november, 2017- january, 2018).

His works are included in public and private collections such as: the MoMA and the Guggenheim Museum in New York; the Museum of Fine Arts in Boston; the Kunstmuseum Bern, Switzerland, the Art Center National Museum Reina Sofía in Madrid, The Ford Foundation in New York, as well as in the National Museum of Fine Arts, the Museum of Modern Art and the Latin American Art Museum in Buenos Aires. His works also belong to private collections such as the Diana and Bruce Halle Collection, Arizona (USA); the Patrica Phelps Cisneros Collection; the Ella Fontanals-Cisneros Collection, Miami; and the Baroness Carmen Thyssen-Bornemisza and Norman Foster Collections in Madrid (Spain).

Rogelio Polesello

Rogelio Polesello (1939-2014) was born in Buenos Aires, Argentina. Painter and sculptor, presented his first individual exhibition in 1959 at the Peuser gallery where it was expressed his admiration for Victor Vasarely. Shortly after his geometry obtained references of the New Abstraction with resources of the optical artists, such as the offset of geometric shapes, producing a strong effect of instability. He worked with painting, printmaking and acrylic objects capable of generating optical effects that break the image. He made numerous indivudual exhibitions, including highlights of the Pan American Union in Washington in 1961, Museum of Fine Arts in Caracas in 1966 and 1968, Center of the Torcuato Di Tella Institute Visual Arts in 1969, Bogotá Museum of Modern Art and Museo Nacional de Bellas Artes in Buenos Aires in 2000, among others. He also made interdisciplinary works related to architecture, the intervention of public spaces, advertising, environmental and textile design. He won the First Proce Georges Braque, the Grand Prix of Honor of the National Hall of Arts and the First Salon ESSO Award, among other distinctions. In 2015 the Museum of Latin American Art in Buenos Aires (MALBA) made a retrospective exhibition of his works.

His work is included in public and private collections including the Museum of Latin American Art (MALBA), the National Museum of Fine Arts in Buenos Aires, the Buenos Aires Museum of Modern Art (MAMBA) and Museum of Contemporary Art of Buenos Aires (MACBA), Argentina; the Museum of Modern Art in New York (MoMA), the Guggenheim Museum in New York, the Art Museum of the Americas in Washington, the Blanton Museum of Austin and Lowe Art Museum in Miami, USA; the Bogotá Museum of Modern Art and the Art Collection of the Bank of the Republic of Bogotá, Colombia and the Museum of Fine Art Caracas, Venezuela, among many others.

Edgardo Giménez

Edgardo Giménez (1942) was born in Santa Fe, Argentina. He is a self-taught artist, that began working in advertising graphics. In painting and sculpture he has had multiple group, solo and retrospective exhibitions at the Museum of Art Tigre(2018), National Museum of Fines Arts of Neuquén (2016), National Museuem of Fine Arts of Buenos Aires (1997) and at the Museum of Modern Art of Buenos Aires (1987), among others.

As a graphic designer he participated in projects in Japan, U.S.A., France, Italy, Germany, Switzerland, Poland, among other countries. In 1987 he participated in the exhibition “The Most Beautiful Posters in the World” at the Grand Palais in Paris, sponsored by UNESCO.

In Architecture he has made the following works: “Casa Azul” (1970-72), exhibited at the MoMA in New York, U.S.A. in the exhibition “Transformations in Modern Architecture” (1979); “Casa Colorada” (1976); “Yellow House” (1979-1981); “White House Buenos Aires Province” and “House of the Golden Columns” (1987), Belgrano, C.A.B.A. In 1985 he won the Silver Pencil Award at the Design Biennial. He made the following books: “Romero Brest: Culture as Provocation” (2006), “Edgardo Giménez; Art and Politics ”(2007)“ Edgardo Giménez, Autobiography, Carne Valiente ”(2016).

He served as art director of the San Martín Theater (1980/83), with national and foreign distinctions. He made the graphic and institutional image of the Teatro Colón (1983-1984) and in 1997 he obtained the Leonardo Prize of the MNBA. Furthermore, He was in charge of the direction of visual communication for the Secretary of Culture of the GABA (2000-2006).

His works are in the following collections, museums and foundations: Museum of Modern Art of Buenos Aires (MAMBA), Buenos Aires, Argentina; National Museum of Fine Arts (MNBA), Buenos Aires, Argentina; Rosario Museum of Contemporary Art (MACRO), Rosario, Santa Fe, Argentina; Federico Jorge Klemm Foundation, Buenos Aires, Argentina; Amalia Lacroze Fortabat Art Collection, Buenos Aires, Argentina; Ignacio Pirovano Collection, Permanent Argentine Art Casa Rosada, Buenos Aires, Argentina; Espigas Foundation, Buenos Aires, Argentina; Museum of Modern Art (MoMA), New York, U.S.A .; The Metropolitan Museum of Art (MET), New York, U.S.A .; Library of Congress, Washington, U.S.A .; Nasher Museum of Duke University, Durham, North Carolina, U.S.A .; Getty Research Institute, Los Angeles, California, U.S.A .; Los Angeles Country Museum of Art (LACMA), Los Angeles, California, U.S.A .; Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, U.S.A .; Block Museum of Art, Northwestern University, Evanston, Illinois, U.S.A .; Denver Art Museum, Denver, Colorado, U.S.A .; El Museo del Barrio, New York, New York, U.S.A .; Mead Art Museum at Amherst College, Amherst, Massachusetts, U.S.A .; Museum of Contemporary Art Chile, Santiago, Chile; Narodowe Museum, Poland; and in important private collections.

Jorge de la Vega

Jorge Luis de la Vega (Buenos Aires, 1930 – Buenos Aires, 1971) was an Argentine self-taught artist. He was a draftsman, engraver, poet, graphic de- signer and creative in advertising agencies. He worked as a teacher at the University of Buenos Aires and at Cornell University. He integrated the artistic movement called “Nueva figuración” and was close to the Instituto Di Tella that at that time was preceded by Jorge Romero Brest, and where he exhibited individually in 1967.

Between 1963 and 1966 he made his series of “Monsters”.
In 1965 he won a scholarship to travel to the United States. There he built close ties with the language of American Pop. At that time he exhibited regularly in New York, Pittsburgh, Madrid, Toronto and Buenos Aires.
In 1966 he won the Special Prize for Argentine Painter at the Latin American Art Biennial of Córdoba. In 1969 he participated in the Biennial of San Pablo (Brazil).

His works can be found in important private collections and Museums such as: the Museum of Modern Art of New York (MoMA); the Museum of Fine Arts of Houston (MFAH); Solomon R. Guggenheim Museum of New York; Rhode Island School of Design Museum of Art (RISD); the Blanton Museum of Art in Texas; the Museum of Modern Art of Río de Janeiro (MAM Río), the La- tin American Museum of Buenos Aires (Malba), the Museum of Fine Arts of Buenos Aires (MNBA); the Museum of Modern Art of Buenos Aires (MAMBA); among others.

Edgardo A. Vigo

Edgardo Antonio Vigo (La Plata, Argentina, 1928-1997) studied at the School of Fine Arts of the University of La Plata. He worked in the Judicial Power of the Province of Buenos Aires between 1950 and 1991.
In 1953 he received a scholarship and traveled to France where he was in contact with the international art scene. Back in Argentina he began to work on his “useless objects”. In 1955 he founded the Standard’55 group with Gigli and Guereña and started working on his first mathematical Poems. In 1956 he founded the Relativuzgir’s movement and in 1957 he exhibited his “useless machines” in the Judicial Branch Association.
Between 1958 and 1960 he published the WC magazine together with Gigli, Guereña and Comas, as well as the three issues of DRKW’60 of his exclusive authorship. In 1961 he participated in an exhibition invited by Grupo Sí. In 1962 he founded the Diagonal Cero magazine (28 issues until 1968) broadcasting experimental poetry focused on the diffusion of the Diagonal Zero movement that he integrated with Pazos, Gutiérrez and Ginzburg. In 1968 he published the manifesto Un arte a realizar, which he defined as: “a touchable, pointing, expanding, playful, participatory, absurd and contradictory art”.
From 1968 to 1992 he made a series of actions on the public highway called “Señalamientos”, which tended to create a disorder in the daily order. “Bundle of Semaphores” is one of his most recognized actions.
In 1968 he also made the inedible mathematical Poems enclosing some mysterious object in two tuna cans welded together. In Paris he edited his Baroque Mathematical Poems that allowed the public to compose their own poems by manipulating a set of colored planes. He also founded the Museum of Xylography, a traveling institution that consisted of boxes of works ready to be mounted and displayed. In 1969 he presented the film White on White: Homage to Kasimir Malevich, projected behind the public’s back; organizes the International Exhibition of New Poetry at the Di Tella Institute of Buenos Aires and edited Obras (in) completas, a set of labels that the receptor can attach to any object transforming it into a visual poem.
Between 1971 and 1975 he published the Hexágono’71 journal, dedicated to experimental theory and poetry. In 1975 he organized the last art-mail exhibition together with Horacio Zabala. He also participated in some of the activities organized by the CAyC, such as the Art of Systems exhibition at the Museum of Modern Art in Buenos Aires, in 1971. In 1976, with the arrival of the military dictatorship in Argentina and the forced disappearance of his son , the work of Vigo acquired a political aspect and the art-mail circuit was its vehicle to spread the atrocities committed during the de facto regime.
From 1980 onwards he devoted himself mainly to the production of mail art, actions, objects and woodcuts. Proletarian Chess (1983-87) belongs to this period. Together with Graciela Gutiérrez, Marx forms the collective G.E.Marx-Vigo, which works together for seven years.
In 1991, a retrospective of his work was held at the San Telmo Foundation in Buenos Aires. In 1994, he integrated the Argentine shipment to the XXII Biennial of San Pablo (Brazil), along with Pablo Suárez and Libero Badii and made the 1954-1994 exhibition at the Visual Arts Foundation of La Plata. In 1997 he opened the solo exhibition at the Institute of Ibero-American Cooperation (Spanish Cultural Center of Buenos Aires) and formed the Argentine selection of artists who participated in the 1st Mercosul Biennial in Porto Alegre (Brazil).
In 2003, an anthological exhibition of his work was held at the Fundación Telefónica de Buenos Aires. In 2008, machinations were inaugurated. Edgardo Antonio Vigo: Works 1953-1962 at the Cultural Center of Spain in Buenos Aires, which was then presented at the Museum of Contemporary Art in Rosario and the Provincial Museum of Fine Arts of La Plata.
In 2016 the Museum of Modern Art of Buenos Aires (MAMBA) performs Edgardo Antonio Vigo, permanent factory of creative chaos, Obras 1953 – 1997, an exhaustive retrospective of his work.

Gyula Kosice

Gyula Kosice (1924) was born in Kosice, Slovakia. nationalized argentinian. He was a sculptor, painter and poet, and noted for being one of the forerunners of kinetic vanguard art. Interested in sculptural research, he made light experiences, integrating kinetic elements and introducing water and plexiglass in his works. Kosice was co-founder of Arte Concreto Invención in 1945, and a year later, founder of the Madí Art Movement, author of his Manifesto. He was also co-founder of Arturo magazine in 1944, and propeller of the “Hidro-Space City”, a project of a future urbanism suspended in space. Throughout his career he published 15 books of essays and poetry.

He made numerous individual exhibitions and more than 500 collective exhibitions. He has been distinguished with the degree of “Knight of Arts and Letters” by the government of France in 1989, and in 1991 the National Museum of Fine Arts of Buenos Aires made a retrospective exhibition of his work.

He received numerous awards, such as the Prize for the Trajectory of Plastic Arts granted by the National Museum of Fine Arts of Buenos Aires in 1994, the Di Tella Prize and the Konex Prize in 1997, among others.

His work is included in public and private collections such as the Museum of Latin American Art (MALBA), the National Museum of Fine Arts of Buenos Aires, the Museum of Modern Art of Buenos Aires (MAMBA) and Museum of Contemporary Art of Buenos Aires (MACBA) ), Argentina; Patricia Phelps de Cisneros Collection, Amalia Lacroze Art Collection From Fortabat, the Museum of Fine Arts of Houston, the Museum of Modern Art of New York (MoMA), USA; the Center Georges Pompidou in Paris, France, among many others.

Martha Boto

Martha Boto (1925-2004) was born in Buenos Aires, Argentina. Painter and sculptor, focused its work on research on optical variations of light, color and movement. She was a member of the New Art Association created in 1955 by the poet Aldo Pellegrini and the artist Carmelo Arden Quin. In 1956 she joined the group Artistas No Figurativos Argentinos. In 1959 she settled in Paris where she made contact with the Op-art and Kinetic Art Movement. Her kinetic and optical works were focused on the juxtaposition of static or moving reliefs, experimenting with chance, play and movement. In 1960 she participated in the first Biennial of Paris. In 1969 she made her first individual exhibition at the Galerie Denise René. Her works participated in exhibitions at the National Museum of Art Reina Sofia in Madrid in 2007, at the Museum of Fine Arts, Houston in 2009 and at the National Museum of Fine Arts in Buenos Aires in 2012, among many others.

Her work is included in public and private collections including the Centre Georges Pompidou, National Fund for Contemporary Art and the Musée d’Art Moderne de la Ville de Paris, France; the Museum of Latin American Art of Buenos Aires (MALBA), the Torcuato Di Tella Foundation and the Na- tional Museum of Fine Arts in Buenos Aires, Argentina; Museum of Modern Art, Rio de Janeiro, Brazil; Peggy Guggenheim Collection in Venice, Italy; the Museum of Art in Tel Aviv, Israel; the Museum of Fine Arts, Houston ( MFAH ), Texas, USA ; among many others.

ArteBA 2019

Buenos Aires – 11 al 14 de abril

Sección Principal: Eduardo Costa, César Paternosto, Rogelio Polesello, Edgardo Giménez, Miguel Harte, María Boneo, Manuel Espinosa, Gyula Kosice, Raúl Lozza, Juan Melé, Julio Le Parc y Martha Boto.
Cabinet: Jorge de la Vega