DOCSLIB.ORG

Theory As Action Oscar Masotta at MACBA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theory As Action Oscar Masotta at MACBA Theory as Action Oscar Masotta at MACBA ► Curated by Ana Longoni, the exhibition is organised around nine thematic areas that cover the intense intellectual and artistic career of the Argentine thinker Oscar Masotta, starting from his notion of the theoretical exercise as a mode of political action. ► Masotta went into exile in 1975 in Barcelona, where he died four years later. Founder of the Freudian Field Library in 1977, he was a key agent in the introduction of Lacanian thought in Spain, as he had previously been in Argentina and Latin America. ► The exhibition features works by Roberto Jacoby, Eduardo Costa, Raúl Escari, Marta Minujín, Charlie Squirru, Dalila Puzzovio, Rubén Santantonín, Luis Wells and Alberto Greco, among others. It includes unpublished documentary material and artistic works made by Masotta, while giving an account of his legacy in contemporary art with contributions by Gonzalo Elvira, Dora García, Guillermina Mongan and the collective Un Faulduo. ► Oscar Masotta. Theory as Action is the result of several years of collective research. The exhibition was presented in 2017 at MUAC (Mexico) and after its showing at MACBA it will travel to Buenos Aires (Parque de la Memoria, 2018). Title: Oscar Masotta. Theory as Action Opening: Thursday 22 March 2018, 7.30 pm Dates: 23 March – 11 September 2018 Organisation and production: Exhibition organised by MUAC Museo Universitario Arte Contemporáneo, UNAM, Mexico, in collaboration with MACBA Museu d’Art Contemporani de Barcelona Curator: Ana Longoni Oscar Masotta. Theory as Action seeks to reconstruct the intellectual journey of this thinker, theoretician and artist (Buenos Aires, 1930 – Barcelona, 1979) through a wide selection of documentary material, works by the artists he wrote about, as well as artworks he produced himself. Curated by Ana Longoni, the project is the result of years of research into this crucial figure in the transformations of the Argentine and Ibero-American cultural field between the 1950s and 1970s. Masotta left his native Buenos Aires in 1974 to go into exile in Europe, first in London and then in Barcelona, the city where he settled in 1975 and where he died four years later. In Barcelona, his host city, he was actively involved with the countercultural scene of the time. Masotta's multiple interests ranged from literature and militant politics to the artistic avant-garde, comics, psychoanalysis, semiology and structuralism. Theory as Action seeks to integrate the different constellations of readings and areas of incidence that he articulated in a common itinerary. Theory as Action Theory as Action is structured in a series of sections without a linear path. In its multiple and interwoven approach, the exhibition presents a biographical and intellectual account that is multifaceted and unstable. The first section, Personal Papers, brings together letters, photos, books, drawings and other documents belonging to Masotta, alongside his poems and paintings, which he conceived not as artworks but as ‘thinking exercises’. The second section, Exile and Psychoanalysis, explores the traces left by Masotta during his years in Barcelona and his ties with the so-called ‘Gauche Divine’. Between 1975 and 1979 he worked intensely in different cities in Spain, where he promoted study groups (the first being in the studio of the painter Josep Guinovart) to which many young people were drawn, including Pepe Espaliú. He was in contact with young intellectuals such as Alberto Cardín, Eugenio Trías and Federico Jiménez Losantos. Masotta is recognised for introducing Lacanian thought in the Spanish language. Lacan’s work is key to understanding the theoretical and artistic production of Masotta and the writings of the French thinker accompanied him throughout his career. The third section, Literature and Peronism, focuses on his participation in the fifties in the young nucleus of the legendary magazine Contorno, together with Juan José Sebreli and Carlos Correas; his approach to the literature of Roberto Arlt; and his connection with the Communist Workers Movement. It recalls his provocative action in distributing pictures of the outlawed Eva Perón in the bars and meeting places of the anti-Peronist intelligentsia. Rather than talk about Pop art in Argentina, Masotta preferred to use the neologism ‘Argentinian image-makers’ (imagineros argentinos) to distance the ‘plurality of propositions’ of local production from American Pop art. A significant group of works of the Argentine avant- garde of the sixties, on which Masotta wrote, is brought together in this fourth section. The fifth section, Comics: Drawn Literature, shows Masotta’s pioneering initiatives in recognising the artistic status of comics. In addition to publishing two books on the subject from a semiological perspective (in 1968 and 1970), he organised the First World Comics Biennial at the Instituto Di Tella (1968) and between 1968-69 edited, together with Oscar Steimberg, the magazine LD. Literatura Dibujada. The sixth section, Arte de los Medios, presents the ideas and achievements of the group formed in 1966 by Roberto Jacoby, Eduardo Costa and Raúl Escari, in vigorous dialogue with Masotta. This group experienced and studied the social materiality of the mass media, especially its ability to build an event. The Anti-happening, a founding work by the group, put into circulation through press reports news of a happening that never took place. The seventh section, Masotta Happenist, shows that while reflecting theoretically on the phenomenon of happenings, this intellectual also began producing them. In his happening Para inducir al espíritu de la imagen (To induce the spirit of the image, 1966), in exchange for payment as theatrical extras, he placed a number of elderly people on a stage and exposed them to powerful lights and very penetrating sound. Masotta defined it as ‘an act of explicit social sadism’. El helicóptero (The helicopter, 1967) was an inquiry into the face-to-face communication between two sectors of the public: those who saw the helicopter flying and those who missed it. The eighth section, Derivations, explores the persistence of Masotta’s ideas and the ‘art of the media’ in the later developments of the Argentine avant-garde. On the one hand, the Moda ficción (Fictional Fashion) developed by Eduardo Costa, in which fictional devices intervene in the world of fashion magazines. And on the other, the political radicalisation that motivated these artists around 1968, culminating in the well-known Tucumán Arde collective action: a counter-information campaign promoted by the opposition workers union to denounce the dictatorship’s official propaganda against the serious crisis affecting the working population of northern Argentina. Finally, Masotta Polemicist presents, from his three polemical interventions, the incisive mode of intellectual debate to which he frequently resorted. This section documents his discussions with the Argentine painter Luis Felipe Noé, the French happenist Jean-Jacques Lebel, the epistemologist Gregorio Klimovsky and the sociologist Darío Cantón. Contrary to the strongly anti-intellectual climate that prevailed among the politically radicalised Latin American intelligentsia in the late sixties, which led many artists to abandon art for politics, Masotta mounted a concerted defence of intellectual work as a specific mode of political action. Today his legacy is being rescued by various theorists and contemporary artists (such as Dora García, Gonzalo Elvira, Ángel de la Calle, Guillermina Mongan and the collective Un Faulduo), whose activations and revisiting of Masotta’s work are included in this exhibition. About Oscar Masotta Oscar Masotta (Buenos Aires, 1930 – Barcelona, 1979) was a central figure in the modernisation of the Argentine cultural field between the 1950s and the 1970s. His intense work as an essayist took him to different territories: he wrote about art, literature, comics, politics and psychoanalysis. He is recognised for introducing Lacan's thought in Latin America and Spain. The avidity of his readings and the diversity of his theoretical interests prompted him to productively cross-link new paradigms such as phenomenology, existentialism, structuralism and semiology. He always claimed to be a Marxist but challenged orthodoxy by critically approaching Peronism and popular culture. Actively linked to the artistic avant-garde of the sixties, he proposed a series of key notions such as dematerialisation, discontinuity and environment to analyse the radical transformations of art at that time. His contribution was not only theoretical but also artistic: in 1966 he began producing happenings and communicational works, such as Para inducir al espíritu de la imagen (To induce the spirit of the image, 1966), El helicóptero (The helicopter, 1967), and El mensaje fantasma (The ghost message, 1967). He collaborated with the Arte de los Medios group, recognised today as one of the pioneers of Conceptualism. He was co-editor of the magazine LD. Literatura Dibujada and organised the First World Comics Biennial (1968). Among his vast production are his books Sexo y traición en Roberto Arlt (1965), El pop art (1967), Happenings (1967), Conciencia y estructura (1969) and La historieta en el mundo moderno (1970). Shortly before leaving for exile in Europe in 1974, hounded by the climate of increasing political violence, he founded the Freudian School of Buenos Aires and published Introducción a la lectura de Jacques Lacan (1974). Before his premature
Load more

Recommended publications
  • The Argentine 1960S
    The Argentine 1960s David William Foster It was the time of the Beatles, of high school studies, of “flower power,” of social ist revolution, of a new French movie house, of poetry, of Sartre and Fanon, of Simone de Beauvoir, of Salinger and Kerouac, of Marx and Lenin. It was all of that together. It was also the time of the Cuban Revolution, which opened our hearts, and it was the time of a country, Argentina, which took the first steps to ward vio lence that was to define our future (Fingueret 20-21). El cine es una institución que se ha modificado tanto que ya perdió su carácter de “región moral”. Las salas de cine hasta los primeros años de la década del sesen- ta eran lugares de reunión social donde la gente iba a estar como en un centro de reunión social, un club o un café del que se era habitué....Las antiguas salas tenían personalidad propia y algunas cum plían otras funciones que aquellas para las que habían sido creadas; en tiempo de represión sexual, eran frecuen- tadas por parejas heterosexuales que se besaban y mas- turbaban. Los homosexuales tenían su espaci en cier- tas salas llamadas “populares” no frecuentadas por familias, y en mu chos casos sus espectadores eran varones solos. “Hacer el ajedrez” se decia en el argot de los habitués, en esos cines, a cambiarse cons - tantemente de butaca en busca de la compañía ade- cuada (Sebreli 344).1 In Argentina, it was the best of times, and it was the worst of times.
    [Show full text]
  • Oscar Masotta Theory As Action
    ENG Oscar Masotta Theory as Action Exhibition from 23 March to 11 September 2018 Oscar Masotta, Buenos Aires, c. 1968. Photo: courtesy of Cloe Masotta and Susana Lijtmaer #OscarMasotta ‘Masotta, was it Gardel?’ Osvaldo Lamborghini OSCAR MASOTTA (Buenos Aires, 1930 – Barcelona, ​​ 1979) was an avant-garde intellectual, a controversial and provocative activist situated in the midst of the abrupt transformation of the political and cultural arenas in which he was a participant from the 1950s to the seventies. In contradistinction to the strongly anti-intellectual climate of that time, he defended the theoretical as a specific mode of emancipatory political intervention. A crucial figure in the introduction of the then unconnected new paradigms of thought, together with the articulation of new ideas and ways of realisation, he has been defined by various authors as ‘a true modernising hero’, ‘a prototypical sensibility of the sixties’ and a ‘flagship writer’. While other intellectuals viewed existentialism and structuralism as irreconcilable, Masotta synthesised his position within the conjunction consciousness and structure: ‘The philosophy of Marxism must be rediscovered and specified in the modern doctrines (or ‘sciences’) of languages, structures and the unconscious.’ His passions and areas of intervention were polymorphic, multiple, mobile: from literature and political militancy to the artistic avant-garde, comics and psychoanalysis. A heterodox Marxist and an intellectual on the margins of academia, he was (and continues to be) a controversial figure due to his dandyism (deliberately slovenly), the ‘frivolity’ of his passions (the left intelligentsia reproached him for dedicating himself to happenings instead of addressing the problem of hunger) and for failing to fit the model of the committed or organic intellectual.
    [Show full text]
  • Who Was Oscar Masotta? Psychoanalysis in Argentina
    Who was Oscar Masotta? Psychoanalysis in Argentina Philip Derbyshire As Manuel Vázquez Montalbán’s sardonic detective The argument of this article is that Masotta’s tra- Pepe Carvalho ruefully observed, in a dictionary of jectory from Sartrean literary analysis to Lacanian Argentine clichés, psychoanalysis would have a crucial exegesis exemplifies the dilemmas of a peripheral place, along with ‘tango and the disappeared’.1 ‘One’ intelligentsia in relation to metropolitan theoretical knows that along with Paris, Buenos Aires is one of production. Philosophical shifts on this reading are the centres of psychoanalytic practice, and one of the symptomatic rather than purely conceptual. I try to leading training centres for Lacanians. What is less demonstrate this thesis by reading Masotta’s early well known is how this state of affairs came to be writings with their indebtedness to Sartre, then a historically, and how it connects with the wider history pivotal text where the ideas of betrayal and fidelity of philosophy in Argentina, more especially with the are foregrounded, and lastly the work on Lacan with extensive influence of Sartre there in the 1950s. One its preoccupations with transmission and rivalry. The way of mapping this field is to look at the work choice of themes constantly refers back to Masotta’s of a maverick figure within Argentine letters, Oscar own existential and historical position and maps out a Masotta, whose intellectual trajectory shifts from a particular instance of intellectual dependency. I close domesticated Sartrean position to exegesis of Lacan’s with some more general remarks on the position of work within the context of a specifically Argentine Lacanian analysis in Argentina now.
    [Show full text]
  • Communication Studies
    Introduction: Communication studies During 1966, the artist Wolf Vostell designed a poster that could be folded into a mail- out, advertising a forthcoming Th ree Country Happening ( Figure 0.1 ). Th e initiative, planned for autumn 1966, was the brainchild of a triumvirate of artists working in diff erent continents: Marta Minujín in South America, Allan Kaprow in North America, and Wolf Vostell in Europe. 1 Vostell’s creation proclaims the proposed Happening’s transnational ambitions, overlaying the sketchy outlines of each landmass, as well as that of Africa in the lower right- hand corner, with the stencilled surnames of each artist next to their respective cities of Buenos Aires, New York and Berlin/Cologne. Th ese metropolitan centres are linked by a triangle of dotted lines, rendered in thicker marks with a darker shade of graphite than the contours of the continents. Th is contrast conveys the impression that the challenges of brute geography are receding in the face of the dematerialised connections facilitated by media technologies, an inference further underscored by the poster’s trilingual Spanish, English and German text. Vostell’s annotations identify the triangular dotted line as a telephone link. Another three vectors, each labelled ‘TV’, surge outward from the cities to converge in the poster’s centre at a point representing the Early Bird satel- lite, suspended above the Atlantic Ocean.2 As these arrows indicate, the Th ree Country Happening was envisioned as a simultaneous performance in Buenos Aires, New York and Berlin, with the action relayed live on television via satel- lite. Circles of transmission waves pool around each city like ripples from stones thrown into a pond, spreading over borders and reconfi guring cartographic divisions into a diagram of transnational connectivity.
    [Show full text]
  • Segunda Vez: How Masotta Was Repeated
    Segunda Vez: How Masotta Was Repeated A research project led by Dora García Segunda Vez: How Masotta Was Repeated A research project led by Dora García This and following pages: Oscar Masotta, El helicóptero, 1967. Happening at the Instituto Torcuato Di Tella, El Theatrón, and Anchorena, Buenos Aires. Photographer unknown. Courtesy of Cloe Masotta. 4 5 6 7 8 9 10 11 12 13 “At the moment during which we planned the What followed from there was the usual process of study— two-week festival there came the coup d’état meticulous, thorough—until we, for by this point it was not that brought Juan Carlos Onganía to power, just me but a team, were ready to apply for a grant. It was and there was an outburst of puritanism and thanks to that grant that we were able to make a film, Segunda police persecution. Scared, we abandoned Vez, to gather texts for this book, to create a website, and to the project: what is more, it was a bit embar- translate some of Masotta’s texts. We are particularly happy rassing, amid the gravity of the political situ- to be able to offer a translation of Masotta’s early, and semi- ation, to be creating Happenings… In this nal, study of the Argentinean author Roberto Arlt, Sex and respect—embroiled in a sentiment of mute Betrayal in Roberto Arlt, in its entirety. Our hope was to bring rage—I now think exactly the opposite.” Masotta’s work to the forefront and to widen the readership of this figure, who had been totally unknown to us until a mere —Oscar Masotta, couple of years ago, but who immediately, and completely, “I Committed a Happening” swept us off our feet.
    [Show full text]
  • Oscar Masotta Segunda Vez
    Oscar Masotta Segunda Vez A research project led by Dora García Cahier No. 1 Oscar Masotta Segunda Vez Cahier No. 1 A research project led by Dora García Table of Contents 5 Dora García Introduction: How Masotta Was Repeated 12 Nora Joung Rereading Masotta 16 Victoria Durnak Remembering for Others 21 Andrea Valdés Where Are We Going, and Why? (Shooting Notes) 27 Inés Katzenstein Three Works of Explicit Import 32 Oscar Masotta I Committed a Hap pening (1967) to the forefront Masotta’s work, which was totally unknown to us until a couple of years ago, and which we just hap- Introduction: pened to stumble upon, but which completely swept us off our feet … How Masotta I had decided from early on that an important part of the research work would go to filming three happenings Masotta had organized in October 1966. At that time, we Was Repeated had no documentation of them, no clear photographs, no films. There was only Masotta’s after the fact but very thorough and detailed description of the happenings, or Dora García anti-happenings, all of which took place in October 1966. He describes and discusses El helicóptero (The Helicopter), Para inducir el espíritu de la imagen (To Induce the Spirit of the Image), and El mensaje fantasma (The Ghost Message) in “After Pop, We Dematerialize” and in “I Committed a Hap pening,” both published in 1967. Those descriptions would allow us to script the happenings and make them To tell the truth, I don’t exactly remember when was the first happen again.
    [Show full text]
  • Redalyc.Psicoanálisis Y Transición Democrática En España
    História, Ciências, Saúde - Manguinhos ISSN: 0104-5970 [email protected] Fundação Oswaldo Cruz Brasil Druet, Anne-Cécile Psicoanálisis y transición democrática en España História, Ciências, Saúde - Manguinhos, vol. 24, núm. 1, noviembre, 2017, pp. 63-78 Fundação Oswaldo Cruz Rio de Janeiro, Brasil Available in: http://www.redalyc.org/articulo.oa?id=386153806005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Psychoanalysis and the transition to democracy in Spain Psychoanalysis and the transition to democracy DRUET, Anne-Cécile. Psychoanalysis and the transition to democracy in Spain. in Spain História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v.24, supl., nov. 2017. Available at: http://www.scielo.br/hcsm. Abstract This article studies the links between psychoanalysis and the transition to democracy in Spain. It examines the major changes that characterized the spread of psychoanalysis in the years after Franco’s death, in particular the rise of the Lacanian movement, the impact of this phenomenon on the sociocultural sphere and, in broader terms, its role in the re-emergence of psychoanalysis as a cultural object in the country. The article also analyzes factors linked to the history of psychoanalysis during the Franco dictatorship; factors that, together with the arrival of Oscar Masotta and numerous Argentinian analysts in Spain, help explain the new vision of the field that emerged during the transition. Keywords: history of psychoanalysis; history of the Lacanian movement; Spain; transition to democracy.
    [Show full text]
  • La Producción Intelectual De Juan José Sebreli, 1950-1970
    UNIVERSIDAD NACIONAL DE SAN MARTÍN INSTITUTO DE ALTOS ESTUDIOS SOCIALES MAESTRÍA EN SOCIOLOGÍA DE LA CULTURA Y ANÁLISIS CULTURAL TESIS Ensayo y sociología: la producción intelectual de Juan José Sebreli, 1950-1970 Antonio Carlos Cámpora Director: Dr. Alejandro Blanco Noviembre de 2018 Resumen Uno de los aspectos del proceso de modernización cultural iniciado a partir del golpe de Estado de 1955 fue la transformación del ámbito académico. Entre otras iniciativas, en el marco de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires, se creó en el año 1957 la primera carrera de Sociología del país, que en pocos años logró consolidarse. Ante el desarrollo de la sociología, algunos de los ensayistas dedicados a interpretar el mundo social continuaron escribiendo sus ensayos de una forma tradicional, pero otros intentaron incorporar elementos de la nueva disciplina en sus producciones, siendo uno de los casos más notables de esta segunda tendencia Juan José Sebreli. Este autor, que en los años cincuenta había iniciado su labor intelectual participando en distintas revistas culturales, en la década del sesenta integra de una manera particular la sociología en su producción ensayística. La presente tesis analiza la producción intelectual de Juan José Sebreli en el período 1950-1970. Con énfasis en los años sesenta, examina las diferentes intervenciones del autor en el mencionado período, tomando en cuenta distintos aspectos del campo intelectual en los que éstas se fueron produciendo, así como las relaciones del ensayista con otros agentes de dicho campo. Palabras clave: Ensayismo – Sociología académica – Campo intelectual – Ensayo sociológico 2 ÍNDICE INTRODUCCIÓN 1.
    [Show full text]
  • Oscar Masotta La Teoría Como Acción
    Imágenes de contratapa (de arriba abajo) Sala PAyS 09.11.2018 - OSCAR Oscar Masotta, El helicóptero, 1967. 24.02.2019 Acomodadoras con traje de plástico transparente, diseñado por Juan Risuelo. MASOTTA © Cloe Masotta y Susana Lijtmaer Oscar Masotta, El helicóptero, 1967. Cortesía de Eduardo Costa Oscar Masotta, OSCAR El helicóptero, 1967. © Cloe Masotta y Susana Lijtmaer LA MASOTTA TEORÍA Oscar Masotta nació en Buenos Aires en 1930 y murió en el exilio en Barcelona, en 1979. Ha sido nombrado COMO “un verdadero héroe modernizador”, “una sensibilidad prototípica de la década del sesenta” y “escritor-faro”. ACCIÓN En su intensa labor ensayística escribió sobre literatura, arte, política, historieta y psicoanálisis. Su itinerario intelectual articuló intereses heterogéneos en el cruce de diversos paradigmas de pensamiento (el marxismo, el existencialismo, el estructuralismo, la fenomenología, la semiótica). Integró la mítica revista Contorno (1953-1959), junto a los hermanos David e Ismael Viñas. En los años ’60 se involucró activamente en la vanguardia artística, en especial el arte pop, los happenings y el arte de los medios. Entre 1964 y 1967 participó junto al arquitecto César Jannello del Centro de Estudios Superiores de Arte de la UBA, donde impulsó numerosos grupos de estudio. Fue director de la revista LD/ Literatura dibujada y organizó en 1968 la I Bienal Mundial de la Historieta en el Instituto Di Tella. Es reconocido como el introductor del pensamiento de Jacques Lacan en lengua castellana y crecientemente se está redescubriendo su producción artística. Curaduría: Ana Longoni Asistencia en Curaduría e Investigación: Guillermina Mongan Con la colaboración de Amanda de la Garza y Hiuwai Chu Esta exhibición organizada y producida por el Museo Universitario Arte Contemporáneo (MUAC), UNAM, México, se expuso en el Museo de Arte Contemporáneo de Barcelona (MACBA) y continúa su itinerancia en el Parque de la Memoria – Monumento a las Víctimas del Terrorismo de Estado.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Dematerialization in the Argentine Context : Experiments in the Avant-garde in the 1960s Permalink https://escholarship.org/uc/item/31p8448f Author Mazadiego, Elize M. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Dematerialization in the Argentine Context: Experiments in the Avant-garde in the 1960s A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Elize M. Mazadiego Committee in charge: Professor W. Norman Bryson, Co-Chair Professor Grant Kester, Co-Chair Professor Steve Fagin Professor Ruben Ortiz-Torres Professor Emily Roxworthy 2015 Copyright Elize M. Mazadiego, 2015 All Rights Reserved. The Dissertation of Elize M. Mazadiego is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Co-Chair ____________________________________________________________ Co-Chair University of California, San Diego 2015 iii TABLE OF CONTENTS Signature Page ................................................................................................................... iii Table
    [Show full text]
  • Oscar Masotta Segunda Vez
    Cahier No. 2 Oscar Masotta Segunda Vez A research project led by Dora García Oscar Masotta Segunda Vez Cahier No. 2 A research project led by Dora García Table of Contents 4 Dora García Buenos Aires Is Not a Swedish City 9 Oscar Masotta After Pop, We Dematerialize (1967) 20 Cloe Masotta We’ll Have to Find a Way of Meeting Each Other Soon 23 Oscar Masotta Letters legacy. Entitled La Eterna, the film closes with these words considers “abominable,” is that the “explosion” of the word with which informational works of this type are made by the Paris-based Argentinian philosopher Gabriel Catren “happening” in the press is, in some ways, “a positive pheno- is none other than the processes, the results, the facts, Buenos Aires (we’re leaving the English unedited): menon,” because “it somehow represents a becoming aware and/or the phenomena of information set off by the of our lack of seriousness.” And Masotta comments: mass information media (examples of “media” include: Is Not a Gabriel Catren: Masotta is someone that, in a certain radio, television, dailies, newspapers, magazines, pos- sense, he is an intellectual from Argentina, and I don’t Just imagine: the vicissitudes of political power, the ters “panels,” the comic strip, etc.).3 know if you know this theory in biology where they say circular succession of economic teams. And what of Swedish City that the individual, that the ontogenesis recapitulates the ridiculous seizing of the Islas Malvinas (Falkland Information is the new material of dematerialized art. We the phylogenesis. (…) The idea that the development Islands) by an ex-actress and a few young extremists? could marvel at the prophetic qualities of this paragraph, both of a single individual recapitulates all the stages of I would say the answer is nothing.
    [Show full text]
  • University of California, San Diego
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Dematerialization in the Argentine Context: Experiments in the Avant-garde in the 1960s A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Elize M. Mazadiego Committee in charge: Professor W. Norman Bryson, Co-Chair Professor Grant Kester, Co-Chair Professor Steve Fagin Professor Ruben Ortiz-Torres Professor Emily Roxworthy 2015 Copyright Elize M. Mazadiego, 2015 All Rights Reserved. The Dissertation of Elize M. Mazadiego is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Co-Chair ____________________________________________________________ Co-Chair University of California, San Diego 2015 iii TABLE OF CONTENTS Signature Page ................................................................................................................... iii Table of Contents............................................................................................................... iv List of Figures......................................................................................................................v Acknowledgements.........................................................................................................
    [Show full text]