“Pop & post pop “, is the group exhibition, curated by María José Herrera; that brings together the works of Delia Cancela, Juan Stoppani, Marta Minujín, Eduardo Costa and Edgardo Giménez.

Expansive and international phenomenon, Pop was a nomadic and migrant movement that put modern life and it’s characters -mainly young people- into a window to the world.
In Argentina, many of those who were called “Pop artist” exhibited at the Di Tella Institute or participated in it’s environment of open internationalism and interdisciplinary work. Breaking the canons of tradition. Music, theater, visual arts and experimentation as a slogan, resulted in a generation that showed off its imagination in the country and extended its mature fruits to the capitals of the culture of the time: New York, London and Paris.
Pop art took it’s image from Hollywood’s glamour stars and translated into the national scene. Fashion and it’s models, lights and advertising strategies, magazines and comics, created a new art, away from gods and heroic ideals, as defined by Jorge Romero Brest.

The artists appropriated the dynamism and carefreeness of urban popular culture and its productions. Provocative and irreverent they saw in mass media a vitality to integrate art. Fashion, art and design merged to pay tribute to a culture of youth where ephemeral is synonymous of intensity.

“Pop lunfardo”, as Pierre Restany called it, Argentine Pop expressed itself with a language on it’s own, which is identified by it’s originality.

Why do we talk about Post-Pop? Because just as happened in the nineteenth century with the vision installed by the Impressionism, after Pop nothing remained the same. This is evidenced by the
artists gathered in this exhibition, pioneers in that forge of elements we call Pop art. Their current works testify the validation of those ideas (original, rebellious, derisive, transgressive, sexy) for which they put the body in an attitude that today we understand as clearly political, where freedom and subjectivity were not instances to negotiate.

The MCMC gallery brings together two outstanding figures of Geometric Abstraction, Eduardo Mac Entyre and Miguel Ángel Vidal, in the exhibition entitled Generative Art. 
In September of 1960, with the denomination of Generative Art, Mac
Entyre and Vidal exhibited their works at the Peuser Salon, which was the venue for outstanding exhibitions. According to the texts of the exhibition’s catalog, it’s name was suggested by Ignacio Pirovano, who find coincidences between the paintings of the artists and the work of Georges Vantongerloo, belgian artist and theorist.
Generative Art, in opposition to the Representative Art, decides to generate new forms, as well as reflect their generative process and the phenomena that cause them.

The intention of the artists, who
recognized themselves as direct descendants of Concrete art, was to energize geometric painting that used to be static and give movement through the line, with crosslinks, superpositions and frames, thus causing vibrations and various optical effects with unqiue lyricism, accentuated by the use of a refined chromatic gamut.
In 1972 the two members of Generative Art, together with Ary Brizzi and Carlos Silva, exhibited at the Museum of Modern Art in Buenos Aires. The exhibition –that was called “Projection and Dynamics”- was then exhibited at the Musée d’art moderne de la Ville de Paris, with Manuel Espinosa’s and Miguel Ocampo’s works too.
The movement circulated, especially in Europe and Latin America, with great assimilation from artists, critics and public, due to the changes that were in gestation in the visual arts, at the time.

MCMC brings together in this exhibition, generative paintings and light sculptures from the sixties and seventies, which
display different parameters of movement adopted by the artists.
While Miguel Ángel Vidal’s work is limited to the exclusive use of the straight line repeated in a systematic way; Mac Entyre arises from linear circumferences drawn from generating points, giving shape to wide curves that overlap, meeting each other.
The set presents a
extensive tour through works that make up a rich heritage, that show the artists’ complicity and their common goal: the “generate” movement.

Optical warning it’s Rogelio Polesello’s solo exhbition, who set Geometric abstraction in Argentina since the middle of the last century. The exhibition, dedicated to his historical works, presents acrylics and paintings of great relevance, produced by the artist in the sixties and early seventies. Polesello was inserted into the development of geometric and optical abstraction in an autonomous and original way, proving an innate capacity to experiment with unheard materials and techniques. He was part of the legendary generation of artists who passed through the mythical Di Tella Institute in Buenos Aires in the sixties and who, as a young man, had already achieved international recognition.
His pictorial searches focused on color and deformation of the image in a synthetic way. His carved acrylics, that impose themselves on the exhibition, bring together two central elements of his poetics: the participation of the spectator and the playful condition of his works. The interaction between the work and the viewer is one of the fundamental axes of the exhibition, giving as result formal alterations and deformations of the surrounding space. These sculptures, that generate lights and reflections in the environment, are completed by the presence of the public who warn, when moving in the environment, how their own image is also playfully distorted.
“Optical warning” is an invitation to explore the artist’s works in an intimate setting, where the viewer can enter his timeless and hypnotic universe and from which they can always discover a new color, a new form or even a different effect.

Rogelio Polesello (Buenos Aires, 1939-2014) was graduated as a Drawing, Engraving and and Painting Professor at the National School of Fine Arts Prilidiano Pueyrredón. In 1959 he held his first solo exhibition at the Peuser gallery. Throughout his career he has worked on geometric abstraction in painting, engraving and acrylic objects. From an early age he worked im advertising design, activity that led him participate in experiences that transcend the world of visual art, and include interdisciplinary works related to architecture, environmental design, textile design, body painting and interventions in public spaces. His works have been exhibited in numerous national and international museums and galleries.
The following exhibitions are are highlighted: Pan-American Union in Washington, 1961; Museum of Fine Arts of Caracas, 1966 and 1968; University of Mayagüez, Puerto Rico 1966 and 1971; Luis Ángel Arango Library, Bank of Republic, Bogotá, 1967; Visual Art Center, Di Tella Institute, 1969; Center for Inter American Relations, New York, 1973; Museum of Modern Art of Bogotá, 1973; Museum of Modern Art-Bosque de Chapultepec, Mexico City, 1973; Palais de Glace, 1995; National Museum of Fine Arts, 2000; José Luis Cuevas Museum, Mexico City, 2002; Recoleta Cultural Center, 2005 and the Museum of Latin American Art of Buenos Aires, 2014, among others.

His works belong to the MoMA collection, Museum of Modern Art, New York; Guggenheim Museum, New York; Museum of the Americas, Washington DC; Blanton Museum, Austin; Lowe Art Museum, Miami; Museum of Modern Art of Bogotá; Bank of the Republic Collection, Bogotá; Museum of Fine Arts of Caracas; National Museum of Fine Arts, Buenos Aires; Museum of Modern Art of Buenos Aires; MALBA, Museum of Latin American Art of Buenos Aires and MACBA –Museum of contemporary Art of Buenos Aires.

Paintings it’s Rogelio Polesello’s solo exhibition, who set Geometric abstraction in Argentina since the middle of the last century. The exhibition, dedicated to his historical works, presents paintings of great relevance, produced by the artist in the sixties and early seventies. Polesello was inserted into the development of geometric and optical abstraction in an autonomous and original way, proving an innate capacity to experiment with unheard materials and techniques. He was part of the legendary generation of artists who passed through the mythical Di Tella Institute in Buenos Aires in the sixties and who, as a young man, had already achieved international recognition.
“Paintings” is an invitation to explore the artist’s works in an intimate setting, where the viewer can enter his timeless and hypnotic universe and from which they can always discover a new color, a new form or even a different effect.

Rogelio Polesello (Buenos Aires, 1939-2014) was graduated as a Drawing, Engraving and and Painting Professor at the National School of Fine Arts Prilidiano Pueyrredón. In 1959 he held his first solo exhibition at the Peuser gallery. Throughout his career he has worked on geometric abstraction in painting, engraving and acrylic objects. From an early age he worked im advertising design, activity that led him participate in experiences that transcend the world of visual art, and include interdisciplinary works related to architecture, environmental design, textile design, body painting and interventions in public spaces. His works have been exhibited in numerous national and international museums and galleries.
The following exhibitions are are highlighted: Pan-American Union in Washington, 1961; Museum of Fine Arts of Caracas, 1966 and 1968; University of Mayagüez, Puerto Rico 1966 and 1971; Luis Ángel Arango Library, Bank of Republic, Bogotá, 1967; Visual Art Center, Di Tella Institute, 1969; Center for Inter American Relations, New York, 1973; Museum of Modern Art of Bogotá, 1973; Museum of Modern Art-Bosque de Chapultepec, Mexico City, 1973; Palais de Glace, 1995; National Museum of Fine Arts, 2000; José Luis Cuevas Museum, Mexico City, 2002; Recoleta Cultural Center, 2005 and the Museum of Latin American Art of Buenos Aires, 2014, among others.

His works belong to the MoMA collection, Museum of Modern Art, New York; Guggenheim Museum, New York; Museum of the Americas, Washington DC; Blanton Museum, Austin; Lowe Art Museum, Miami; Museum of Modern Art of Bogotá; Bank of the Republic Collection, Bogotá; Museum of Fine Arts of Caracas; National Museum of Fine Arts, Buenos Aires; Museum of Modern Art of Buenos Aires; MALBA, Museum of Latin American Art of Buenos Aires and MACBA –Museum of contemporary Art of Buenos Aires.

In this individual exhibition, Cesar Paternosto transgredes the limits of space, with this work on lines, rectangles, encounters and unnoticed gaps that accentuate the concept of border. At the same time, it is the austere color notes that assume the new meaning that the artist recreates on borders, as abstract as tangible as they are. Paternosto exceeds the conceptual limits of knowledge and his work’s materials  through its own spatial and plastic expression.
César Paternosto (1931) was born in La Plata, Argentina. Painter and sculptor, he resided in New York since 1967. In 2004 he moved to Segovia, Spain, year in which he presented an individual exhibition at the Museum of Contemporary Art Esteban Vicente with the curatorship of Tomás Llorens. In 1969 Paternosto began a series of works where at first sight the front of the work, white and uniform, did not reveal an image. The geometric artist began to paint on the wide edges of the frame. In 1972 he won the Guggenheim Painting Scholarship among many others. Recently, the architects Rafael Moneo and Pedro Elcuaz proposed to intervene with his work the new arrival hall of the Atocha Station in Madrid. Paternosto’s color planes appear and disappear as the traveler or spectator walks through.
In the book called “Argentine Art. Four Centuries of History”, Jorge López Anaya wrote  about Paternosto’s work: “The new works force the viewer to move his gaze to both sides of the frame, it was a way to increase the complexity of the reception, inducing an active and bodily participation.”

 According to Tomás Llorens, this discovery of the edge of the canvas is a consequence of the framework questioning initiated by Paul Klee and concluded by Piet Mondrian. Paternosto discovered that possibility when he noticed that the dutch painter leaves the center of the fabric open and carried the black bars and the colored areas towards the edges.
His work belongs to public and private collections such as: the MoMA and the Guggenheim museum in New York, the Museum of Fine Arts in Boston, the Kunstmuseum in Bern, Switzerland, the Reina Sodía National Museum of Art in Madrid, The Ford Foundation, the Diana and Bruce Halle Collection in Arizona, the Patrica Phelps Cisneros and Ella Fontanals-Cisneros Collection, the National Museum of Fine Arts and Museum of Modern Art in Buenos Aires, the Baroness Carmen Thyseen-Bornemisza Collection, the Norman Foster Collection, among many others. He held numerous solo and group exhibitions in the United States, Latin America and Europe.