Posted on August 1, 2010
In the 80 paid "foreign debt" to 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 there, at Fundación Proa, lots to see in that regard.
"I took all the corn, I made a mountain, put two chairs and we we took ten photos. I grabbed the corn, he went up, I offered it and he accepted. 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 that saldáramos debt. Then we give the corn people signed. That was the last time I saw him. "
Marta Minujín and evokes his brief, intense relationship with Andy Warhol. La, although well known, its value anecdote reissues these days about a sample of the Proa Foundation on which meant the New York mecca and Argentine artists.
In this relationship, the figure stands inevitably Minujín but it is interesting to broaden the perspective and discover what New York did, or rid-concretions and the aspirations 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 not stopped losing charm but New York began to be very promising.
Sign Proa rescues this situation not only highlighting who managed "inserted" 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 the comics and graffiti.
Minujín addition, the exhibition presents works by Eduardo Costa, Leandro Katz, David Lamelas, Luis Felipe Noé, and Luis Rogelio Polesello Wells, among others.