artist / participant
Malba – Fundación Costantini presents a retrospective exhibition of Marta Minujín featuring more than 100 works from the sixties, seventies and eighties. Curated by Victoria Noorthoorn, the exhibition invites viewers to witness the complexity and scope of the production of an artist who, the curator suggests, "is all about freedom, excess, self-involvement, celebration, and pure creativity and, contrary to what we might imagine, is also about precision, rigor, endurance, generosity and critical spirit. She is a self-manager of artistic projects the likes of which Argentina has never seen before". Furthermore, "the aim of this exhibition is to assert the critical nature of Minujín's work and emphasize her ongoing relevance. It presents a Minujín we are not entirely familiar with due to the historical lack of analytic exhibitions of her work in Argentina".
The exhibition includes her early paintings and Informalist works from 1959 to 1961; happenings and participatory environments from 1964 and 1965; experiments with the mass media carried out in 1966; works based on her hippie experiences in the late sixties; performances and fictional operas from 1972 to 1974; critical projects related to the political situation in Latin America from the late seventies; and projects involving mass participation and the destruction of myths produced during the eighties.
Many of Minujín's most paradigmatic works are represented in this exhibition, including La destrucción(The Destruction, Impasse Ronsin, Paris, 1963), ¡Revuélquese y viva! (Wallow Around and Live!, Instituto Torcuato Di Tella [ITDT], Buenos Aires, 1964), La Menesunda (Mayhem, ITDT, Buenos Aires, 1965, realized in collaboration with Rubén Santantonín), El Batacazo (The Long Shot, ITDT, Buenos Aires and Bianchini Gallery, New York, 1965), Simultaneidad en Simultaneidad (Simultaneity in Simultaneity, ITDT, Buenos Aires, 1966), Importación-Exportación (Import-Export, ITDT, Buenos Aires, 1968), Kidnappening (MoMA, New York, 1973), The Soft Gallery (Harold Rivkin Gallery, Washington D.C., 1973), Imago Flowing (MoMA, New York, 1974), La academia del fracaso (The Academy of Failure, Centro de Arte y Comunicación [CAyC], Buenos Aires, 1975), Comunicando con tierra(Communicating with Earth, CAyC, Buenos Aires, 1976), El Obelisco de pan dulce (The Obelisk in Sweet Bread, Feria de las Naciones, Buenos Aires, 1979), El Partenón de libros (The Parthenon of Books, Avenida 9 de julio, Buenos Aires, 1983)—made from books that had been confiscated during the military dictatorship—Operación Perfume (Operation Perfume, Avenida 9 de julio, Buenos Aires, 1987) and many others. All in all, the exhibition presents artworks from private and public collections, twenty newly-edited film projections, the reconstruction and recreation of historical works, and numerous documents from the artist's prolific archive.
The exhibition presents Minujín in dialogue with her time, with the national and international events taking place at different moments in her career and with the artistic communities with which she worked, in Argentina and abroad. It reflects the way that her production set forth a dialogue with the diverse movements of the sixties, and specifically with New Realism, Pop Art, Mass Media Art and Conceptual Art, as well as with the investigations around happenings, performance and video art, mass media and new technologies, and public and participatory art, among others.
only in german
Marta Minujin 1959-1989
Kurator: Victoria Noorthoorn