buenos-aires

Horacio Zabala, 300 metros de cinta negra para enlutar una plaza pública (300 Meters of Black Plastic to Swathe a Public Square in Mourning), 1972, mixed media, dimensions variable. From “Arte de Sistemas: El CAYC y el proyecto de un nuevo arte regional, 1969–1977” (Systems Art: CAYC and the Project of a New Regional Art).

“Arte de Sistemas”

Espacio de Arte-Fundación OSDE

Horacio Zabala, 300 metros de cinta negra para enlutar una plaza pública (300 Meters of Black Plastic to Swathe a Public Square in Mourning), 1972, mixed media, dimensions variable. From “Arte de Sistemas: El CAYC y el proyecto de un nuevo arte regional, 1969–1977” (Systems Art: CAYC and the Project of a New Regional Art).

The elephant in the room at Espacio de Arte-Fundación OSDE this past summer was diminutive, almost invisible: a photocopy of a telegram, nestled in a vitrine filled with ephemera from the 1977 São Paulo Bienal. The Buenos Aires–based Centro de Arte y Comunicación (CAYC), directed by founder Jorge Glusberg, won the Bienal’s top honor, the Gran Premio Itamaraty, that year with its “Group of Thirteen” Conceptual artists, who first organized in 1971 and repeatedly showed together during the first half of that decade. The telegram offers “most hearty congratulations” on the prize, which “reiterates once more Argentine art’s high level and the rich variety of its diverse aesthetic proposals.” The telegram bears the name of Jorge Rafael Videla, then president of Argentina and an architect of the military dictatorship that killed some thirty thousand people and imprisoned and tortured

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