Exhibition program

On the occasion of its 60th anniversary, the Museo de Arte Moderno de Buenos Aires, under the direction of Victoria Noorthoorn, presents its exhibition program for the current semester.

Exhibitions opening May 14, 2016:

Edgardo Antonio Vigo: Works 1953–1997
Until October 2, 2016

The first comprehensive retrospective of Edgardo Antonio Vigo (1928–97), a pioneer of Latin American conceptual and mail art with works since the early ’50s. The exhibition will include over 500 works by the experimental poet, artist, and publisher, who spent his life working in the Judiciary in La Plata, Buenos Aires Province. It will feature the artist’s books and experimental poetry, his 1950s collages, woodcuts and absurd objects, his poetic and politically-charged actions, and the publications he edited and designed during the 1960s, as well as the archives from Novísima Poesía/69, the exhibition he organized for the Instituto Torcuato Di Tella. Curated by Sofía Dourron and Jimena Ferreiro Pella, the exhibition is a collaboration with the Centro de Arte Experimental Vigo in La Plata.

Bernardo Ortiz: Draw and Steal
Until October 10, 2016

An exhibition of drawings by Colombian artist Bernardo Ortiz, staged by himself especially for the Moderno. In his practice, Ortiz uses drawing as a means to make time visible; in so doing he “steals” time from the everyday. His delicate drawings interrogate notions of visibility, representation, and reproduction, and explore the concepts of universality and failure.
 

Ongoing exhibitions:

Ana Gallardo: A Place To Live When We Get Old
Until April 10, 2016

An exhibition of Gallardo’s last ten years of artistic practice reveals an oeuvre that achieves maximum urgency with modest resources. In her monumental drawings and collaborative projects, Gallardo constitutes a now tacit, now explicit denunciation: her art draws attention to processes of personal transformation on the knife-edge of vulnerability, and to social situations of indifference in microsocieties, which the artist tenaciously seeks to transform. 
 

La Menesunda according to Marta Minujín
Until May 22, 2016

A monumental reconstruction of La Menesunda, the legendary maze created by Marta Minujín and Ruben Santantonín for the Instituto Di Tella in 1965, with the collaboration of artists Floreal Amor, David Lamelas, Leopoldo Maler, Rodolfo Prayón, and Pablo Suárez. The precise reconstruction allows the public to revisit this cornerstone of Argentine art that sparked media scandal and embodied a critical stance at a time of turmoil in Argentine society.
 

The Paradox at the Center: Rhythms of Matter in Argentine Art of the ’60s. Museo de Arte Moderno de Buenos Aires Collection
Until December 31, 2016

The exhibition focuses on a moment of rupture towards the late ’50s and early ’60s, when several artists began to expand traditional formats through acts of material violence that initiated contemporary art in Argentina. It posits a displacement of canonical readings of this period by putting Lucio Fontana, one Argentine artist absent from the collection, at the epicenter of this material seismic shift. The exhibition, curated by Javier Villa, includes works by Alberto Greco, Aldo Paparella, Kenneth Kemble, Rubén Santantonín, Federico Manuel Peralta Ramos, Marta Minujín, Jorge de la Vega, and Luis Felipe Noé, among others.
 

Debates at the Center: Abstraction and Figuration in the Museo de Arte Moderno’s Collection 1950–1970
Until October 2, 2016

Representation, or its absence, in art is the dilemma at the core of Debates, curated by Marcelo E. Pacheco. The exhibition stages the tensions between figuration and abstraction when contemporary practices disrupt canonical sequences in the Argentine scene. It showcases artists who occupy very different places in the historiography, and rescues artists who have vanished from the discourses altogether.
 

Pirovano Collection Episodes II. Vitullo/Iommi: Evoking the Past, Projecting the Future
Until September 18, 2016

The exhibition, curated by María Amalia García, sets up a tension between Enio Iommi’s research into abstract and concrete art and Sesostris Vitullo’s exploration of primitive imaginaries of modern art.