Log in to
Email Address
Password
Forgot your password?
Not a member? Sign up now!

"Total Adventure": Primary Documents from 1960s Argentina

These documents were originally published in print in Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, part of MoMA's ongoing book series Primary Documents series. This selection is newly compiled by the book's editor Inés Katzenstein, Director of the Department of Art at the Universidad Torcuato di Tella, Buenos Aires.

Sections of the publication were also edited by Andrea Giunta, Ana Longoni, and Mario Mestman.

Author

Costa

Eduardo Costa

Artist Eduardo Costa studied literature and art history at the University of Buenos Aires. He was a founding member and writer for Airón, a magazine that published theoretical... Read more »
Raulescari220v

Raúl Escari

Artist Raúl Escari’s adventure into the art world was limited to his experimentation with the mass media. He studied philosophy at the University of Buenos Aires. From the... Read more »

María Teresa Gramuglio

Professor María Teresa Gramuglio was born in Buenos Aires. In 1966, after resigning her position at the University of Rosario because of government intervention in the university,... Read more »
Alberto greco

Alberto Greco

Artist The heralded attempt to relate art with life coalesced in the 1960s in the mythic figure of Alberto Greco. Greco immersed himself as much in the world of poetry as he did... Read more »
Jacoby 1

Roberto Jacoby

Artist and Sociologist Roberto Jacoby’s first ventures into art were in the field of painting and sculpture, which he subsequently renounced, considering the field to be limited. In July 1966,... Read more »
Ineskarzensteinprofile

Inés Katzenstein

Director of the Department of Art Universidad Torcuato di Tella, Buenos Aires Inés Katzenstein is Director of the Department of Art at the Universidad Torcuato di Tella, Buenos Aires. She has written extensively on contemporary art and has curated a... Read more »
Oscar masotta

Oscar Masotta

Art critic Oscar Masotta was indisputably a central figure in the cultural world of Argentina from the 1950s through the 1970s. In the 1950s he worked at Contorno, the mythic... Read more »
Minujin

Marta Minujín

Artist At the young age of twenty-two, Marta Minujín was considered by Jorge Romero Brest, the renown art critic, curator and mentor of Pop art in Argentina, to be the soul of... Read more »

Nicolás Rosa

At the end of the 1960s Nicolás Rosa was finishing his degree in literature at the Facultad de Humanidades y Artes at the University of Rosario, and working on his first... Read more »
Profile pic

Pablo Suárez

Artist The artistic production of Pablo Suárez painting was figurative. In his first solo exhibition at the Galería Lirolay (1961), he showed paintings that distance themselves... Read more »
Show Less

"Total Adventure": Primary Documents from 1960s Argentina

These documents were originally published in print in Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, part of MoMA's ongoing book series Primary Documents series. This selection is newly compiled by the book's editor Inés Katzenstein, Director of the Department of Art at the Universidad Torcuato di Tella, Buenos Aires.

Sections of the publication were also edited by Andrea Giunta, Ana Longoni, and Mario Mestman.

Show More

These documents were originally published in print in Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, part of MoMA's ongoing book series Primary Documents series. This selection is newly compiled by the book's editor Inés Katzenstein, Director of the Department of Art at the Universidad Torcuato di Tella, Buenos Aires.

Sections of the publication were also edited by Andrea Giunta, Ana Longoni, and Mario Mestman.

Source contents

Vivo-Dito Manifesto

Vivo-Dito art is the adventure of the real, the urgent document, the direct and total contact with things, places, people, creating situations, creating the unexpected. It means showing and encountering the object in its own place. Totally in accord with cinema, reportage, and literature as a living document. Reality without touchups or artistic transformation. Today I am more interested in...

Read more »

Grand Vivo-Dito Anti-Manifesto Manifesto Scroll (excerpts)

Buy the “Grand Vivo-Dito Discourse Anti-Manifesto Manifesto” with: (colon). Greco clarifies and explains his performance in Cristo 63.1 Tombalos, tangos, crime, cartoons, income, letters between relatives. A confession bought right now and forever.

( . . . )

I know that with so much tango the rhythm gets lost, but so what? Let the tango play on.

( . . . )

Steal ideas of mine? Steal my ...

Read more »

Against the Happening

Within the field of the creation of works of art inside the mass communications media, the one we executed was just one possibility. To carry it out, we needed to obtain the support of the supposed participants and of the journalists. We explained our objectives to each, adapting our explanation to what each wanted to hear. If someone thought that it was all just a big joke, we convinced him...

Read more »

On Happenings, Happening: Reflections and Accounts

When we gathered together in April of 1966 to plan a cycle of Happenings, some of us already questioned the validity and novelty of the genre. We were not sure that it would be possible to improve on manifestations that had taken place in the United States, their country of origin. Even though the genre was universalized and, on the other hand, the boundaries of its concept are fairly...

Read more »

After Pop, We Dematerialize (Excerpts)

_“He devoured her with his eyes.” This sentence and so many other similar ones illustrate quite well the enthusiasm common to realism and idealism according to which knowing is eating." _ Jean-Paul Sartre

“The idea moving the masses today is called materialism, but dematerialization is the defining characteristic of the epoch. For example: correspondence grows, so the number of letters, the...

Read more »

An Art of Communications Media (manifesto)

In a mass civilization, people are not in direct contact with cultural events; rather they are informed about them via the media. For example, a mass audience does not see an exhibition, attend a Happening, or go to a soccer game, but it does see footage of the event on the news. Actual artistic events are no longer important in terms of their diffusion, because they only reach a limited...

Read more »

Creation of the First Work

In May 1966 Roberto Jacoby had planned to create an exhibition that would be only the report of an exhibition. In other words, he planned to present in a gallery only the catalogue of the exhibition, describing the works. It would include all the features of the most complete catalogue possible: critics’ opinions, sketches of the work, etc. These elements, all false, would complete the...

Read more »

I Committed a Happening

When, in the December 16th edition of the newspaper La Razón, I read Professor Klimovsky’s condemnation of intellectuals who “concoct” Happenings, I felt directly and personally implicated. If I am not mistaken, the number of persons in Buenos Aires who fulfill such conditions can be counted on half the fingers of one hand. And since Klimovsky recommended “abstaining” from Happenings and “...

Read more »

Experiences 68

  1. For the third time, I am trying to talk about the exhibition Experiences 68, and as you know, three strikes and you’re out. I am so sorry I had to cancel the talk twice for different reasons, but it’s an ill wind that blows no good. The Experiences are over and it will be easier now to refer to them with serenity. Then, too, we will go on with these “Experiences”. . . .1

  2. With these Experiences...

Read more »

Letter of Resignation to Jorge Romero Brest

Buenos Aires, May 13, 1968

Mr. Jorge Romero Brest:

A week ago I wrote you letting you know about the work that I planned to do at the Instituto Di Tella. Today, scarcely a few days later, I already feel incapable of doing it on moral grounds. I continue to believe that it was useful, clarifying, and that it could come into conflict with some of the invited artists, or at least, call into...

Read more »

Tucumán Is Burning

Starting in 1968, in the field of Argentine art, a series of esthetic events began to occur that broke with the so-called avant-garde approach of the artists that were doing their work at the Instituto Di Tella. Until that time, this institution had set itself up as the authority, legislating and proposing new action models, not only for the artists linked to the Institute, but for all new...

Read more »

Buenos Aires Statement

The regime’s violence is severe and clear when it is directed against the working class, but more subtle when it is aimed at artists and intellectuals. Because in addition to the repression that entails censorship of books and films, closing of exhibitions and theaters, there is the other, ongoing repression. You have to look for it in the form that art takes these days: an article about...

Read more »

Destruction of My Works in the Impasse Ronsin, Paris

In the middle of 1963 and already at the end of the scholarship that had allowed me to travel to France, I decided to destroy all the works I had made in those last three years, but I wanted to do so in a creative manner, approaching it from the point of view I had at the time about the death of art.

I had spent eight years at fine arts schools, and I had a pretty intense knowledge of...

Read more »

La Menesunda

La Menesunda at the Instituto Torcuato Di Tella

It will provoke “situations” in its own sphere from the eighteenth of May until the sixth of June Nineteen hundred sixty-five

JORGE ROMERO BREST Director of the Center for Visual Arts Invites you to participate in these “situations” Florida 936 BUENOS AIRES

“LA MENESUNDA”

is a caprice a nonsense way of creating difficult strange embarrassing “...

Read more »
Discuss Print

Latest discussion on:
"Total Adventure": Primary Documents from 1960s Argentina

Sign in or create your account to participate in the discussion.