• Carlos Silva, Agoo, 1965, oil on wood, 70 7/8 x 70 7/8". From “Real/Virtual: Argentine Kinetic Art in the Sixties.”

    “Real/Virtual: Argentine Kinetic Art in the Sixties”

    Museo Nacional de Bellas Artes, Buenos Aires (MNBA)
    Avda. Libertador 1473
    June 19–August 19, 2012

    Curated by María José Herrera

    The aesthetic networks connecting Europe and Latin America have generated extensive research in recent years, and this double genealogy of kinetic art in France and Argentina places “Le Mouvement”—Parisian gallerist Denise René’s pivotal 1955 show of “Color-Light-Motion-Time”—at the fulcrum. From there, curator María José Herrera locates three crucial points of reception, radicalization, and regularization in the Argentinean expanded field: Victor Vasarely’s 1958 arrival in Buenos Aires and the influence of his “lessons” in seriality; Groupe de Recherche d’Art Visuel’s “La Inestabilidad” exhibition at the MNBA in 1964, which brought issues of opticality, technology, and participation to the fore; and kinetic art’s eventual inclusion in salons as that genre’s paradoxical moment of legitimization. Catalogue contributions by Elena Oliveras, Mariana Marchesi, Florencia Cherñajovsky, and Cristina Rossi will provide ample material for new avenues of research.