The 60s
and the Bonino Gallery
The art, in our time the art during the 20th century, is in its entirety a product and a consequence of its efforts and discoveries and a continuous departure point.
A slow and progressive maturing is taking place in our country’s art that became established around the 1940s. Advanced experimental art groups, such as Concrete Arte-Invention, that came together in Buenos Aires in 1945 and its offshoots: the Madí Movement, fostered by Carmelo Arden Quin, the especialism of Lucio Fontana, the perceptionism of Raúl Lozza, encouraged notable changes.
The 1960s were also years of experimentation. Once the traditional aesthetic model was in crisis, ephemeral, gestured, geometrical works burst into the environment sealing the immersion of the avant-garde, through an art that transformed and transgressed.
A roaring and questioning decade, it could not do less but generate a new form of art for us, its importance is determined not only by what was produced during it, but also by the appearance of a large group of new artists that also opened new perspectives. The death of easel painting, was declared, as done by Jorge Romero Brest, and new alternatives were suggested that went from the production of the book of art to video-art, from the art with technological contributions to an action-art (happening, performances), at the same time that the appearance of conceptual art emphasized the singular importance of the communicative function of the work of art.
Around 1952, in the Galeria Viau, a complete exhibition of concert artists was carried out in that included three “not very orthodox painters” José Antonio Fernández Muro, Sarah Grilo, Miguel Ocampo, who later brought together the abstract-intuitive group, according to Jorge Romero Brest’s classification, with Clorindo Testa and Kasuya Sakai, This was a group established when the Museo Nacional de Bellas Artes received them in 1960, under the banner of “Argentinean modern artist” according to Aldo Pellegrini.
The Group came together in 1952 and remained together for ten years under the name of lyrical abstracts, even though they did not use this name themselves.
“Not too mature for being judged from the final perspective, nor too young for being considered just promises” said Jorge Romero Brest in the catalogue of the exhibition in the Museo de Bellas Artes.
In Galería Bonino this group of artists, together with Josefina Robirosa exhibited a spontaneous painting, of dynamic signs, ruled by a constructive order of its own, which moved them away from pure geometry. All of them show this constructive will that frequently appears as a need for ordering Chaos.
Mercedes Reitano
See more works
See artists' biographies
The art, in our time the art during the 20th century, is in its entirety a product and a consequence of its efforts and discoveries and a continuous departure point.
A slow and progressive maturing is taking place in our country’s art that became established around the 1940s. Advanced experimental art groups, such as Concrete Arte-Invention, that came together in Buenos Aires in 1945 and its offshoots: the Madí Movement, fostered by Carmelo Arden Quin, the especialism of Lucio Fontana, the perceptionism of Raúl Lozza, encouraged notable changes.
The 1960s were also years of experimentation. Once the traditional aesthetic model was in crisis, ephemeral, gestured, geometrical works burst into the environment sealing the immersion of the avant-garde, through an art that transformed and transgressed.
A roaring and questioning decade, it could not do less but generate a new form of art for us, its importance is determined not only by what was produced during it, but also by the appearance of a large group of new artists that also opened new perspectives. The death of easel painting, was declared, as done by Jorge Romero Brest, and new alternatives were suggested that went from the production of the book of art to video-art, from the art with technological contributions to an action-art (happening, performances), at the same time that the appearance of conceptual art emphasized the singular importance of the communicative function of the work of art.
Around 1952, in the Galeria Viau, a complete exhibition of concert artists was carried out in that included three “not very orthodox painters” José Antonio Fernández Muro, Sarah Grilo, Miguel Ocampo, who later brought together the abstract-intuitive group, according to Jorge Romero Brest’s classification, with Clorindo Testa and Kasuya Sakai, This was a group established when the Museo Nacional de Bellas Artes received them in 1960, under the banner of “Argentinean modern artist” according to Aldo Pellegrini.
The Group came together in 1952 and remained together for ten years under the name of lyrical abstracts, even though they did not use this name themselves.
“Not too mature for being judged from the final perspective, nor too young for being considered just promises” said Jorge Romero Brest in the catalogue of the exhibition in the Museo de Bellas Artes.
In Galería Bonino this group of artists, together with Josefina Robirosa exhibited a spontaneous painting, of dynamic signs, ruled by a constructive order of its own, which moved them away from pure geometry. All of them show this constructive will that frequently appears as a need for ordering Chaos.
Mercedes Reitano
See more works
See artists' biographies
Fernández Muro
Grilo
Sakai
Ocampo
Robirosa
Testa