"What brings the daily work of the artist is that you pay, not get paid, you have to do because what you have inside, you're out of the soul"
Few artists whose names they manage to cross limits the field of art, and fewer still reach deep affection for the society in which they work. Marta Minujín is indisputably one of them, who has won the affection of the people and recognition as one of the most emblematic of the arts in Argentina in recent decades.
inserting a teenager in a field in which women recently came to join with only 21 became National Award winner, awarded by the legendary Di Tella Institute, thanks to a new installation composed of multi-colored painted mattresses, called "wallow and live." This would be only one of the first in a long list of awards and scholarships galardonarían a sabbatical or career without major discrepancies. Loading
against the idea of \u200b\u200bmyth as crystallized and frozen in time, planned a series of works where attacked and converted from different backgrounds, enriching their meaning: the architecture, creating new versions of the Obelisk Tower of James Joyce in Ireland and the Greek Parthenon, the popular musical and a huge sculpture by Carlos Gardel in Medellín, which set fire, and the arts, modeling busts of Venus de Milo, and then fragmenting it into slices to be falling.
As the main representative of the happening in Argentina since the 60's, Minujín has sought to break with the idea of \u200b\u200bthe passive spectator, actively including them in their actions, as in the latest Rayuelarte , where he invited people to rekindle their playfulness playing hopscotch in the middle of Avenida 9 de Julio and as a tribute to Julio Cortazar (the first happening in which I participated in person, since in the past or had been born!).
From 25 November at the Malba undertake the difficult task of performing a retrospective of his work, although well deserved, it becomes difficult to be an artist working in good proportion with ephemeral works, of which only remains a photographic record or film. We will see that we meet, gives me immense curiosity to know his paintings, probably its least known aspect and left behind long ago. Meanwhile I keep saying Marta "My art is based on surprising people in your area daily dislodged" , because if "disturbs you far inside. "
Few artists whose names they manage to cross limits the field of art, and fewer still reach deep affection for the society in which they work. Marta Minujín is indisputably one of them, who has won the affection of the people and recognition as one of the most emblematic of the arts in Argentina in recent decades.
inserting a teenager in a field in which women recently came to join with only 21 became National Award winner, awarded by the legendary Di Tella Institute, thanks to a new installation composed of multi-colored painted mattresses, called "wallow and live." This would be only one of the first in a long list of awards and scholarships galardonarían a sabbatical or career without major discrepancies. Loading
against the idea of \u200b\u200bmyth as crystallized and frozen in time, planned a series of works where attacked and converted from different backgrounds, enriching their meaning: the architecture, creating new versions of the Obelisk Tower of James Joyce in Ireland and the Greek Parthenon, the popular musical and a huge sculpture by Carlos Gardel in Medellín, which set fire, and the arts, modeling busts of Venus de Milo, and then fragmenting it into slices to be falling.
As the main representative of the happening in Argentina since the 60's, Minujín has sought to break with the idea of \u200b\u200bthe passive spectator, actively including them in their actions, as in the latest Rayuelarte , where he invited people to rekindle their playfulness playing hopscotch in the middle of Avenida 9 de Julio and as a tribute to Julio Cortazar (the first happening in which I participated in person, since in the past or had been born!).
From 25 November at the Malba undertake the difficult task of performing a retrospective of his work, although well deserved, it becomes difficult to be an artist working in good proportion with ephemeral works, of which only remains a photographic record or film. We will see that we meet, gives me immense curiosity to know his paintings, probably its least known aspect and left behind long ago. Meanwhile I keep saying Marta "My art is based on surprising people in your area daily dislodged" , because if "disturbs you far inside. "
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