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A4 ik

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

Publication

Excerpts reproduced in Alberto Greco (Valencia: IVAM Centro Julio González, 1991)

Publisher

n/a

Language

Spanish, translated by Maguerite Feitlowitz

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 VIVO-DITO? Ha, ha! If anyone dares, I’ll sign.

( . . . )

I want to make total theater, improvisation, with the audience creating situations, therefore with no audience. Total adventure, for example, the total adventure of a spectacle, the total process, until it takes form. When it’s “done,” be done with it, for example, as if it were no more than a common theatrical show. One should attend every day. But I know that it would be over on opening night. Everything opposite to the way it’s always been done, with that absurd sense of perfection and finish.

( . . . )

As usual, when you least expect it, the parachutist falls. I received an invitation from Nice where they are going to do what one has been doing for years. They steal everything, everything, and one is always played for an ass, there is always a Pucciarelli2 hiding in some corner. I will write to Bertholo to see if his sense of justice will allow him to deign to dedicate a few pages to Arte Vivo-Dito and to the Grequistas vivant in view of this latest and all the earlier ones besides. Let us hope this happens. One struggles as always and spills blood for one’s stubborn faith.

( . . . )

1954: I signed walls, objects, streets, and bathrooms in Paris, accompanied by Peñalva Lerchundi.

1961: I signed the city of Buenos Aires.

1962: February, I exhibited my live rats. Sala BACSAC, Galería Krausel.

1962: Musée d’Art Moderne, Paris. I exhibited and consecrated myself as a work of art. June 1962. Manifesto Dito of Arte Vivo published in Genoa, Italy.

L.A.[^3] is the adventure of the real. The artist will no longer show with the painting, but with the finger. L.A. is direct contact, it must happen right in the street, with people, multitudes, rumors, situations.

1962: August. Paris. Arte Vivo-Dito demonstration directed at K.W.Y. Consisted of signing old ladies and antique shops.

1962: I signed 32 heads of lambs with their throats cut in the trusty Paris market. I signed the market with a finger in the air, accompanied by a painter and another theater director from Montevideo (both women and both very well-known). Of course they laughed. They never understood the man in action as a true work of art.

1963: Incorporation of objets vivants (people) into the canvases. Text on the back of the photo: Greco positioning a lady to create the living space in the picture, in the canvas. I, Greco, Grequísimo. I sign Ben as Arte Vivo-Dito' s Continuator No. 6 in the world.

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Alberto Greco circling Argentine artist Alberto Heredia with chalk as part of the First Live Art exhibition, Paris, March 1962. Courtesy Vanina Greco.
1.

A scandalous theater piece that Greco performed in Rome in 1963, for which he was obliged by the police to leave Italy.

2.

Mario Pucciarelli, born 1928, Buenos Aires, an Informalist painter who was awarded the Di Tella National Prize in 1960.

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