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Argentine Conceptualism from the 1960S to the 1990S

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Argentine Conceptualism from the 1960S to the 1990S Bolaños-Salas i CONFRONTING VIOLENCE: ARGENTINE CONCEPTUALISM FROM THE 1960S TO THE 1990S. A thesis Submitted by Priscilla Bolaños-Salas In Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Department of Art History TUFTS UNIVERSITY May, 2012 ADVISER: Adriana Zavala Bolaños-Salas ii ABSTRACT In the 20th century, Argentina went through successive periods of democracy and military dictatorships. The regime of Juan Carlos Onganía (1966-1970) and of the four Juntas that controlled the country after 1976 military coup (1976-1983) are remembered especially for their authoritarianism and their exertion of intense political and ideological repression. Human rights organizations estimate that at least thirty thousand people were disappeared and killed during the last military period, also known as the Dirty War. Focusing mainly on three case studies, this thesis explores the response of Argentine conceptual artists to political violence and state terrorism from the 1960s through 1990s. Through the analysis of the 1960s avant-garde collective Tucumán Arde, the 1983 conceptual event “El Siluetazo,” and the 1990s memory art of the neoconceptual photographer Marcelo Brodsky, this research project maps out the network of connections and departures that exists between conceptual practices in Argentina. Bolaños-Salas iii TABLE OF CONTENTS ABSTRACT ...................................................................................................................... II INTRODUCTION............................................................................................................. 1 Literature Review................................................................................................................ 3 Historical Context ............................................................................................................... 7 Chapter 1:THE EXPERIMENTAL 60S ....................................................................... 12 Media Art: The dematerialization of the work of art ........................................................ 15 Experiencias 1968: Anti-institutionalism and the Radicalization of the Avant-Garde ..... 20 Assault on the Conference of Romero Brest and the Braque Award ............................... 25 Tucumán Arde: Challenging the Division between Art and Life ..................................... 26 Chapter 2: “El siluetazo” ............................................................................................... 36 Conceptualism in the 1970s: Arte de Sistemas ................................................................. 36 “El Siluetazo”.................................................................................................................... 40 The Question of Aesthetics ............................................................................................... 52 The Symbolism of the Silhouette ...................................................................................... 55 “El Siluetazo” in Dialogue with Argentinean Conceptualism .......................................... 59 Chapter 3: mARCELO bRODSKY .............................................................................. 67 Buena Memoria ................................................................................................................. 70 Nexo: Objects as Memory ................................................................................................ 80 Constructing Memory: Debate sobre la ESMA ................................................................ 85 Brodsky’s Art in Dialogue with Argentinean Conceptualism .......................................... 89 Conclusion ....................................................................................................................... 94 APPENDIX ...................................................................................................................... 99 BIBLIOGRAPHY ......................................................................................................... 114 Bolaños-Salas 1 INTRODUCTION This thesis explores the development of conceptualism in Argentine art from the 1960s through its practice in the 1990s as a means to understand how conceptual art has responded to political violence and state terrorism. Through the comparison of conceptual art from these four decades, this investigation will trace the continuity of the use of conceptual art as a strategy to oppose the establishment, counteract official discourse, and denounce the violation of human rights. Even though the form, methods, and aspirations of Argentinean conceptualism have changed significantly over time, adapting to the different political and social contexts, I will argue that there is a genealogy that connects these practices. I undertook the study of Argentinean conceptualism because two interesting and complex themes converge in this specific topic. The first theme is the terrible violence and abuse carried out by the military dictatorships in Argentina. I became interested in understanding the political processes that led to the prevalence of authoritarianism and how Argentineans have coped, both as a nation and as individuals, with the trauma of a reality so gruesome and painful that it is almost indescribable. Over thirty thousand people were disappeared and killed between 1976 and 1983, and thousands more were left mourning the unjust and unreasonable loss of their loved ones. I encountered this history through the work of the conceptual photography of Marcelo Brodsky, whose brother was detained and assassinated by the military. I find the deeply personal character of Bolaños-Salas 2 Brodsky’s work and the complexity of his understanding of memory and trauma very engaging both intellectually and emotionally. The other theme that led me to the study of conceptualism in Argentina was the historiography on Latin American conceptualism and the debates about how to classify these practices. During the 1970’s and 1980’s conceptual art was defined by mainstream art historians and critics as an American and British movement that carried out the dematerialization of the work of art.1 Nevertheless, in the past decades, the history of conceptual art has been rewritten to include conceptual practices beyond the hegemonic cultural centers. As art from Latin America is compared to or becomes integrated into the canon, pressing issues within the field are raised: is Latin American art different from mainstream art? Or are there more commonalities than differences? Is it more effective to consider Latin American art as part of the West, or should it be studied independently? The history of Argentine conceptualism brings together the political history of the country and these contemporary art historical debates; therefore, I decided to engage in the investigation of this topic. 1 Traditionally, conceptual art has been defined as a postwar movement that took place in Western Europe and the United States and originated as a reaction against the modernist conception of painting championed by critics such as Clement Greenberg. Following the legacy of Marcel Duchamp, American artists like Joseph Kosuth, Sol LeWitt and the British group Art and Language rebelled against these formalist principles. These conceptualist artists questioned the nature of the work of art, negated its aesthetic content, and focused instead on non-visual ideas, especially on the relationship between art, language, and representation. Art became a cognitive rather than a contemplative exercise, as Sol LeWitt explains: “It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator.” This shift from the object to the idea and the emphasis on the thinking process led to what the critics Lucy Lippard and John Chandler identified as the dematerialization of the work of art. Frances Colpitt et al., Knowledge : Aspects of Conceptual Art (Santa Barbara; Seattle: University Art Museum ; Distributed by the University of Washington Press, 1992), 11. Bolaños-Salas 3 Literature Review Widespread scholarly interest in Argentine conceptualism only began to flourish in the 1990s. The most important investigation of the Argentine avant- garde in the 1960s began as a discussion and archival research group called Arte, cultura y política en los años `60, coordinated by Enrique Oteiza and sponsored by the Gino Germani Institute of the Department of Social Sciences of the University of Buenos Aires.2 The results of these investigations were analyzed, edited, and published by Ana Longoni and Mariano Mestman on the book Del Di Tella a Tucumán Arde: vanguardia artística y política en el ’68 argentino, a seminal work in the field not only for its analysis but also because it included an extensive compilation of primary sources and interviews.3 This book explains in detail the development of the avant-garde giving especial attention to the relationship between art and politics in this period. Ana Longoni, along with Gustavo Bruzzone, was also responsible for the edition of the El Siluetazo,4 a book that explores this 1980s conceptual artistic event in which protestors drew silhouettes of the disappeared and pasted them around Buenos Aires. This compilation of the most important essays, documents, and newspaper and journal articles is the only of its kind ever written on the subject. Andrea Giunta is another scholar who has written extensively on the 1960s and, more specifically, on the national
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