Posted on August 1, 2010
In '80 he paid "foreign debt" Andy Warhol with corn kernels and perhaps that metaphor is the brightest of a series of artistic exchanges between the USA and Argentina. Until September, Fundación Proa, there is much to see in this regard.
"I took all the corn, did a mountain, we put two chairs and we took ten photos. I grabbed the corn, he went up, I offered him and he accepted it. So the debt was paid. Thinking that I was the queen of pop around here and he was the king of pop there, it made sense saldáramos debt. After giving away signed corn people. That was the last time I saw him. "
Minujin and evokes its brief, intense relationship with Andy Warhol. The story, although well known, its value reissues these days about a sample Proa what New York meant Mecca and Argentine artists.
In this relationship, the figure stands inevitably Minujín but interestingly expand the picture and find out what New York did -or deshizo- with the aspirations and concretions of a diverse group of artists.
Although one can not generalize the '60s and' 70s meant a change of "meta" for many emerging Argentine artists. Paris did not stop losing charm but New York began to be very promising.
The sample Bow rescues this situation not only highlighting who managed to "insert" in the Big Apple. It also traces the influence of the great American city on the work of artists.
In a period where geometric abstraction and conceptual gained ground, exposure records artistic explorations were made, from the possibilities of collage and the distorting effects of the mirrors to sync with comics and graffiti.
Minujín addition, the exhibition presents works by Eduardo Costa, Leandro Katz, David Lamelas, Luis Felipe Noé, Luis Rogelio Polesello and Wells, among others.