Buenos Aires

Fernanda Laguna, Vivir en la luz (To Live in the Light), 1994, painted wood, collage, light fixture, 9 × 10 5⁄8 × 13 3⁄4". From “Tácticas luminosas” (Luminous Tactics).

“Tácticas luminosas”

Colección de Arte Amalia Lacroze de Fortabat

Pink is “the faggot color par excellence.” So Jorge Gumier Maier declared in the catalogue text for the 1997 group exhibition “El tao del arte” (The Tao of Art) at the Centro Cultural Recoleta in Buenos Aires. It was the last one he curated while serving as the director of the Centro Cultural Rector Ricardo Rojas at the Universidad de Buenos Aires, where, less than a decade earlier, he had founded the dimly lit, hallway-like space as a gallery; the small yet transformative gesture would effect radical change in Argentinean art. Whereas previous art-historical shifts had been tied to explicit social, political, and intellectual engagement, especially in the 1960s, or to neo-expressionism in the 1980s, the El Rojas artists, as they came to be known, were invested in beauty and frivolity by way of craft techniques, vernacular materials, decorative aesthetics, and kitsch, prompting the artist

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