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Orgullo y Prejuicio

Art in Argentina in the 90s and Beyond
Chapter II

TEEN CONCEPTUALISM / DIDACTIC CONCEPTUALISM

By Francisco Lemus, curator of the exhibition.

What role did conceptualism play in the Buenos Aires art scene of the nineteen-nineties? Conceptualism is often left aside when we talk about that decade, which is associated with global neo-conceptualism, a practice seen as antithetical to the curatorial vision of the Centro Cultural Rojas gallery. Conceptualism’s relationship with humor and play, with the alternative scene’s visual culture and strategies, is rarely examined. It is, rather, seen as a cold experience rife with signs that must be interpreted, a movement closely tied to the politicization of art. This exhibition contains a group of works that provides an alternative answer to the question about conceptualism formulated above. That said, not all of these works were conceived as conceptual; they are elusive in terms of both aesthetic and discipline—and therein lies their charm. But I put out this idea in order to approach the nineties from an angle largely overlooked, to explore a critical vision suggested in the first chapter. While I propose looking at these works through the prism of conceptualism, I would like to point out the impurity of their images and how hard they are to catalogue (that is exactly why they are so jarring for official art histories).

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The first works share a marginal position in the art world. They engage the local art scene ironically as, in the nineties, new artists and venues were changing its configuration. Comics by Roberto Jacoby and Sebastián Gordín produced in 1989 and 1990 were created for publication in the magazine Fierro. The vision of art history, museums, and the longed-for “internationalization” of Argentine art suggested in these works is tinged with sarcasm. The comics mix local celebrities with facets of Argentine culture and life such as psychoanalysis and endless economic crises. They show apocalyptic scenes tied to the end of history and the technological advances part and parcel of the late twentieth century.

In winter of 1990, Carlos Subosky, Esteban Pages, Emiliano Miliyo, and Máximo Lutz undertook what would be their final joint project, Esculturas y Fotografías (Sculptures and Photographs). Months before, the group Mariscos en tu Calypso, which included Gordín and Fernando “Coco” Bedoya as well, had disbanded. That group, formed at the Manuel Belgrano Art Academy, was bound by a shared interest in, among other things, comics, the Italian trans-avant-garde, Pop art, music, and film. In the late eighties, the Mariscos were somewhat anti-system in their logic and workings; they frequented and exhibited in countercultural venues like the discotheque Cemento, Medio Mundo Varieté theater, and the José Ingenieros library. Their vision of the mainstream art circuit was acerbic. For Esculturas y Fotografías, the artists left a model airplane kit on the doorsteps of curators, critics, gallerists, and artists, and then secretly photographed them. The photographs drew a sort of map of the arts against the backdrop of a city of stark contrasts. Seen in one of the photographs is the entrance to the Instituto de Cooperación Iberoamericana (ICI), a key artistic and cultural space for young artists directed by Laura Buccellato at the time. It was at the ICI that Sebastián Gordín gave guided tours of a small model of an imaginary show housed in that very venue.

Photography underwent changes in the nineties: “contaminated” by contemporary art, it began to break away from its testimonial function. The opening of the Centro Cultural Rojas photo gallery in 1995 under Alberto Goldenstein was a turning point in ways of envisioning photography. The limits of the discipline were questioned at interdisciplinary critiques and studio classes. Raúl Flores’s photographs were part of that transformation. They show kitchen sinks brimming with dirty dishes and refrigerators full of alcohol and commonplace, cheap food in what were arguably still lifes of the nineties. For Flores, photography is what is there, what is in the most immediate environment. There is no need to stylize an image; experimentation and sentimentality must be curbed in photographic practice to avoid grandiloquence.

In 1994, Rosana Fuertes showed Los 60 no son los 90 (The Sixties are not the Nineties) at Fundación Banco Patricios. The work consisted of five rows of small painted cardboard t-shirts bearing different images. Che Guevara’s iconic face on a red shirt; a flower with the title of the work and the face of Carlos Menem, president at the time, on a pink shirt (that color was associated with Argentine art of the nineties). Fuertes, who had studied with Pop artist Pablo Menicucci in Mar del Plata, was also a grade-school teacher. In her works from those years, she made use of symbols from Argentine history as well as the country’s customs and visual culture. Pop images were treated conceptually to yield the tidiness associated with school supplies and graphic design. At first, her works seem didactic, a sort of sampler of the alienated consumerism characteristic of the nineties in Argentina. Notwithstanding, just beneath the surface in each t-shirt are the tensions that afflicted an art field grappling with art’s social and political role. 

ORGULLO Y PREJUICIO
Art in Argentina in the 90 and beyond.

Chapter I. Introduction.
Chapter II. Teen Conceptualism / Didactic Conceptualism

Roberto Jacoby and Sebastián Gordín, Comics, 1989-1991

Roberto Jacoby y Sebastián Gordín - historietas 1989-1990 - Pintura invisible
Roberto Jacoby and Sebastián Gordín, Pintura invisible, 1989-1990.
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Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -3a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 - 2a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -3a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -5a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -6a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -7a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -8a
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 -9
Roberto Jacoby and Sebastián Gordín,
Atahualpa y un Panqui, 1990-1991.
Roberto Jacoby y Sebastian Gordin - ficciones verdaderas
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 - ficciones verdaderas -panel-2
Roberto Jacoby y Sebastian Gordin - Historietas 1989-1990 - ficciones verdaderas - panel-3-de-3
Roberto Jacoby and Sebastián Gordín,
Ficciones verdaderas, 1990.
Roberto Jacoby y Santiago Gordín - Presentimientos cientificos
Roberto Jacoby y Santiago Gordín -historietas-1989-1990- Presentimientos cientificos panel-2-de-4-tinta-sobre-papel-1990
Roberto Jacoby y Santiago Gordín -historietas-1989-1990- Presentimientos cientificos panel-3-de-4-tinta-sobre-papel-1990
Roberto Jacoby y Santiago Gordín -historietas-1989-1990- Presentimientos cientificos panel-1-de-4-tinta-sobre-papel-1990
Roberto Jacoby and Sebastián Gordín,
Presentimientos científicos, 1990.

“What role did conceptualism play in the Buenos Aires art scene of the nineteen-nineties? When we talk about that decade, conceptualism is often associated with global neo-conceptualism, a practice seen as antithetical to the curatorial vision of the Centro Cultural Rojas gallery. Conceptualism’s relationship with humor and play, with the local alternative scene’s visual culture and strategies, is rarely examined.”

Alberto Goldensatein - Roberto Jacoby, 1999. serie El mundo del arte
Alberto Goldenstein, Roberto Jacoby, 1999, from the series El mundo del arte.

ROBERTO JACOBY, b. 1944, Buenos Aires.

A conceptual artist and sociologist, he formulated “dematerialized art” in manifestos and works produced from 1966 to 1968. He created a number of works whose “materiality” was strictly social (the mass media and different communications structures in the urban environment). Mensaje en el Di Tella (Message in the Di Tella 1968) envisioned art as the “design of new life forms.” After participating in Tucumán Arde (1968) and the magazine Sobre, he began research on social conflict and political epistemology. He composed over fifty songs for the rock band Virus and other artists; he organized shows and multimedia parties in neighborhood clubs and the Club Eros. In the nineties, he and Mariana “Kiwi” Sainz created the Fabulous Nobodies, a product-less brand that carried out the anti-discrimination campaign Yo tengo sida (I Have AIDS, 1994).

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In 1998, he developed a network of artists and non-artists designed in the form of the self-managed databank Bola de Nieve. Other projects from the late nineties include Chacra99, an artists’ residency and laboratory; the magazine Ramona; the microsociety Venus; and the sessions of Sociedades Experimentales at the Centro Cultural Ricardo Rojas. He and Jorge Di Paola wrote the novel Moncada (2003) and the booklet Orgía (1990). His first solo show, No soy un clown, was held in 2001 at Belleza y Felicidad in Buenos Aires. The following year, Darkroom, a performance for infrared rays and a single viewer, was held at that same gallery. In 2004, he presented Culísimo (Ass-ism), an experiment on prisons as language factories. In 2005, an expanded version of Darkroom was produced for MALBA, and in 2006 Darkroom 3, a sound installation, was featured at the Pontevedra Biennial. In 2006 and 2007, in the framework of an experiment with Syd Krochmalny, he produced La Castidad (Chastity), a video-installation; the Technologies and Friendship banquettes; and other actions. In 2008, the show 1968, el culo te abrocho was held at Appetite gallery in Buenos Aires. He produced a series of tragicomic videos in gaucho-like setting available on Youtube. He presented his operation Arte, la inversión segura (Art: A Safe Investment) at Ruth Benzacar gallery, along with the project Donaciones (Donations) produced with Fernanda Laguna. In 2010, he developed the collective work Brigada Argentina por Dilma (Argentine Brigade for Dilma) at the 29th São Paulo Biennial. In 2011, a retrospective exhibition of his work entitled Roberto Jacoby. El deseo nace del derrumbe was held at the Museo Nacional Centro de Arte Reina Sofía in Madrid. In 2014, Diarios del odio, a joint show with Syd Krochmalny, was held at the Casa de la Cultura of the Fondo Nacional de las Artes in Buenos Aires.

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Alberto Goldenstein, Retrato de Sebastián Gordín, 1993.

SEBASTIÁN GORDÍN, b. 1969, Buenos Aires

He graduated from Manuel Belgrano Art Academy in Buenos Aires in 1989 with a degree in drawing. That same year, his first solo show, Gordín Pinturas, was held at the Centro Cultural Ricardo Rojas gallery. In 1992, he exhibited at the Casal de Catalunya and, that same year, he did a performance at the entrance to the Instituto de Cooperación Iberoamericana (ICI) located on Florida Street in downtown Buenos Aires. In the performance, he installed a miniature of his show in a maquette of the venue (made by Roberto Jacoby and Daniel Melgarejo) and offered passersby guided tours, lighting up the inside of the maquette with a miner’s helmet complete with flashlight. The show Gordinoscopio was held at the Centro Cultural Ricardo Rojas in 1996. It consisted of a group of boxes, each one containing a detailed miniature of settings like indoor pools, offices, and theaters. Visitors to the show could see the scenes through a peephole.

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Also in 1996, he was a guest participant in the Taller de Barracas. Additional solo shows of his work were held at the ICI (1993, 2001), the Fundación Telefónica (Pequeños reinos, 2003), Ruth Benzacar gallery (2017, 2006, 2011), Rosenfeld Porcini gallery in London (2016), Oscar Cruz gallery (2010, 2015), Distrito 4 gallery in Madrid (2007), and Baró Cruz gallery in São Paulo (2007). From 1996 to 2002, he participated in artists’ residencies in different cities in France, where he also exhibited at, among other places, the Frac des Pays de la Loire. In 1997, he was awarded a grant from the Fundación Antorchas, and the next year from the Fondo Nacional de las Artes. He has been awarded prizes at the Salón Nacional de artes visuales (second prize) and the Premio Klemm in 2018; Premio Braque in 1994; Premio Konex in 2002 and 2012; Petrobras ArteBA in 2004; and first purchase prize at the Bienal de Arte de Bahía Blanca in 2001. In 2014, Sebastián Gordín. Un extraño efecto en el cielo, a retrospective of his work, was held at the Museo de Arte Moderno de Buenos Aires.

El pintor Gordín, 1992

Video by Damián Zantleifer, Buenos Aires, may 1992.
Sebastián Gordín, El Pintor Gordín en el ICI 1992, 1992, técnica mixta y maqueta, 40 x 100 x 13 cm.Área de Documentación y Registro, Museo Nacional de Bellas Artes, Buenos Aires
Sebastián Gordín, El Pintor Gordín en el ICI 1992, 1992, técnica mixta y maqueta, 40 x 100 x 13 cm.Área de Documentación y Registro, Museo Nacional de Bellas Artes, Buenos Aires
Sebastián Gordín, El Pintor Gordín en el ICI 1992, 1992, técnica mixta y maqueta, 40 x 100 x 13 cm.Área de Documentación y Registro, Museo Nacional de Bellas Artes, Buenos Aires
Sebastián Gordín,
El pintor Gordín, 1992.

Carlos Subosky, Esteban Pages, Emiliano Miliyo and Máximo Lutz

Esculturas y Fotografías, 1990

 

A see-through envelop with a model airplane kit inside was left anonymously on the doorstep of the home or workplace of “personalities” from the Buenos Aires art world of the time: gallerists and curators Ruth Benzacar, Adriana Rosenberg, Laura Buccellato, Jorge Glusberg; art critics Elena Oliveras, Jorge López Anaya, Carlos Espartaco; and artists Pablo Suárez, Miguel Harte, Marcelo Pombo, Alfredo Prior, Marcia Schvartz, Oscar Bony, Duilio Pierri, Roberto Jacoby, Víctor Grippo, and others.

All of them were secretly photographed or filmed at the moment they received the package.

They were then sent, also anonymously, another envelop, this one with instructions to build the model airplane in question. The instructions explained how to assemble a sort of abstract sculpture (Sculpture-Kit).

Finally, the involuntary participants were invited to an exhibition at the Centro Cultura Recoleta entitled Esculturas y Fotografías (Sculptures and Photographs).

The exhibition featured black-and-white photographs mounted on bathmats of the persons receiving the model airplane kit; the photos printed on key rings and pins displayed in a case under the label Compre instantes (Buy Now); two sets of instructions (Arma tu escultura 1&2) (Assemble Your Sculpture 1 & 2); and other objects generically labeled Esculturas y Productos (Sculptures and Products).

Esteban Pages, Máximo Lutz, Carlos Subosky y Emiliano Miliyo,Buenos Aires, 1990
Esteban Pages, Máximo Lutz, Carlos Subosky and Emiliano Miliyo, Buenos Aires, 1990.
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Photographs from Esculturas y Fotografías, winter 1990.
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Documents from the exhibition Esculturas y Fotografías, Centro Cultural Recoleta, Buenos Aires, september 1990.

“These works shared a marginal position in the art world, while new artists and venues were changing its configuration during the nineties. They engaged the local art scene from the standpoint of irony.”

EMILIANO MILIYO, b. 1970, Buenos Aires

He lives and works in Buenos Aires. He studied at the Manuel Belgrano Arts Academy. His first exhibitions—in the late eighties as part of the Mariscos en tu Calypso art collective—were held at venues like Cemento discotheque, Medio Mundo Varieté theater, the Centro Cultural Recoleta, and the Centro Cultural San Martín. In the nineties, solo, group, and juried shows featuring his work took place at the Fundación Banco Patricios, the Centro Cultural Ricardo Rojas, the Instituto de Cooperación Iberoamericana, the Espacio Giesso, the Museo Nacional de Bellas Artes, the Centro de Arte y Comunicación, among other venues. Outstanding solo shows in the 2000s include Afectación (2003) and Inefable (2010), both at Ruth Benzacar gallery, and Obras 2001/2010 at the Centro Cultural Recoleta. More recent shows and works include Espacio desplegado (Tecnópolis, 2012), Ausencia visible (AMIA, 2013), Displayed (Pinta, 2013), and Reloj (Pasteur subway station, Buenos Aires, 2015). He is the founder and director of Cosmorama and Estudio Hwyl. He directed the Laboratorio de Experimentación Artistica (LEA) at the Faena Arts Center in 2012.

ESTEBAN PAGÉS, b. 1971, Buenos Aires

He has lived in Geneva since 1995. He studied art, first at Manuel Belgrano Art Academy (1984–1990) and then at the École Supérieure d’Art Visuel of Geneva under Stanley Brown (1995-2000), and philosophy at the Universidad de Buenos Aires (1991–1994). He has been awarded distinctions from the Fondation Kiefer Hablitzel (2000) and the Fonds cantonal de décoration et d’art visuel (2001). From 2007 to 2011, he worked in the Harald Szeemann archive in Maggia, Ticino. He has exhibited at the Fondation Suisse/architecte Le Corbusier in Paris and the Cabaret Voltaire in Zurich. In Buenos Aires in the late eighties, he began producing work as part of art collectives, participating in exhibitions with them at the José Ingenieros library, Cemento discotheque, and Medio Mundo Varieté theater. He participated in the first Bienal de Arte Joven (1989). Shows featuring his work have been held at the Centro Cultural Recoleta, the Centro Cultural Rojas gallery, the Espacio Giesso, the Instituto de Cooperación Iberoamericana, and other venues. In the early nineties, his work was largely exhibited at the Julia Lublin gallery.

esulturas y fotografias box 01
esculturas y fotografias box
Esculturas y Fotografías, 1990-2020.
Edition by Emiliano Miliyo and Esteban Pagés

Raúl Flores, Photographs, 1997-1998

Raul Flores - ST de la serie Piletas, 1998 - Fotografía, Type C-Print, 70 x100 cm
Raúl Flores, Untitled, from the series Piletas, 1998.
Alberto Goldenstein - Raúl Flores, 1994, serie El mundo del arte
Alberto Goldenstein, Raúl Flores, 1994, from the series El mundo del arte.

RAÚL FLORES, b. Córdoba, 1965

He lives and works in Buenos Aires. He studied at the Escuela Provincial de Bellas Artes in Córdoba. In 1997 and 1998, he participated in the Beca Kuitca for young artists, and in 2000 in Trama. In 2016 and 2017, he was the curator of ArteBA’s Barrio Joven. In 2010, he and Piero Sogno created Yungas Arte Contemporáneo, a training- and production-oriented platform for young artists that began in Tucumán province and continued in other Argentine provinces (he and Sogno direct the Project). Solo shows of his work have been held at Gara gallery (1998 and 2002), the Centro Cultural de España in Buenos Aires (2006), Ernesto Catena gallery (2008), and Nora Fisch gallery (2016 and 2018). His work has been featured in Nuevas adquisiciones en el MALBA (2006), Retratos en el Museo Castagnino + MACRO (Rosario, 2006), Más allá del documento at the Museo Nacional Centro de Arte Reina Sofía (Madrid,2000), and Panoramix at Fundación Proa (Buenos Aires, 2000). His work forms part of the collections of MALBA, the Museo de Arte Moderno de Buenos Aires, the Museo Castagnino + MACRO, the Museo de Arte Contemporáneo de Bahía Blanca, and other private and public collections.

Raúl Flores - De la serie Heladeras - 1997 - Fotografía color - 100 x 80 cm - Edición 3 + AP
Raúl Flores, Untitled, from the series Heladeras, 1997.
Raúl Flores - De la serie Heladeras - 1997 - Fotografía color - 100 x 80 cm - Edición 3 + AP
Raúl Flores, Untitled, from the series Heladeras, 1997.
Raúll Flores - De la serie Heladeras - 1997 - Fotografía color - 100 x 80 cm - Edición 3 + AP
Raúl Flores, Untitled, from the series Heladeras, 1997.
Raúl Flores - St de la serie Heladeras - 1997
Raúl Flores, Untitled, from the series Heladeras, 1997.

“ Photography underwent changes in the nineties: contaminated by contemporary art, it began to break away from its testimonial function. There was no need to stylize an image; experimentation and sentimentality were curbed in photographic practice to avoid grandiloquence.”

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Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raul Flores - Racion - 1997
Raúl Flores, Ración, 1997.

Rosana Fuertes, Pasión de multitudes, 1992-on

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Rosana Fuertes, Pasión de multitudes, 1992-on.

“Pop images were treated conceptually to yield the tidiness associated with school supplies and graphic design. Notwithstanding, just beneath the surface are the tensions that afflicted an art field grappling with art’s social and political role.”

Rosana Fuertes
Rosana Fuertes, Untitled, 1992.
Rosana Fuertes
Rosana Fuertes, Untitled, 1992.
Rosana Fuertes
Rosana Fuertes, Untitled, 1992.
Rosana Fuertes, Sin título, 1992, acrílico sobre cartón passe-partout con marco de madera, 14 cm de diámetro
Rosana Fuertes, Untitled, 1992.

Rosana Fuertes, b. Mar del Plata,1962.

Rosana Fuertes graduated from the Escuela de Artes Visuales “Martín Malharro.” She has lived and worked in Buenos Aires since 1990. Her pictogram-like paintings combine issue of gender, current events, and politics, on the one hand, and elements from everyday domestic life, on the other. She was awarded the painting prize and the grand prize by the Mundo Nuevo Foundation, Buenos Aires in 1993 and 1994 respectively.
In 1996, she was awarded a John Simon Guggenheim Memorial grant, and in 1998 a fellowship from Fundación Antorchas. Her work has been exhibited at galleries and museums in the United States, Japan, Brazil, Germany, and France. In 1994, she participated in the V Havana Biennial.

Alberto Goldenstein, Retrato de Rosana Fuertes,1993
Alberto Goldenstein, Retrato de Rosana Fuertes, 1993.
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Francisco Lemus holds a bachelor’s degree in art history from the Universidad Nacional de La Plata, and a master’s in curatorial studies and a doctorate in comparative art theory from the Universidad Nacional Tres de Febrero. His dissertation was entitled Guarangos y soñadores. La Galería del Rojas en los años noventa (Vulgarians and Dreamers: The Rojas Gallery in the Nineties). Thanks to a post-doctoral fellowship awarded by the CONICET, Lemus is doing research on the political and artistic responses to the HIV/AIDS crisis in Argentina during the post-dictatorship period. He is a professor in the History and Social Studies division of the Art Department at the Universidad de La Plata and in the Graduate Program in Gender Studies at Universidad Tres de Febrero. He has published articles in academic journals and non-specialized magazines in Argentina and abroad. The exhibitions he has curated include Imágenes seropositivas. Prácticas artísticas en torno al vih durante los años 90 (La Ene, 2017) and Tácticas luminosas. Artistas mujeres en torno a la Galería del Rojas (Colección Fortabat, 2019).

We are thankful to Juan Borchex, Atilio Bugliotti, Galería Ruth Benzacar (for the participation of Sebastián Gordín), Jane Brodie (translation), Eugenio Collini and the artists who are included in this chapter.

Contenidos relacionados

  • Orgullo Y Prejuicio

    Chapter I: Introduction

  • Recommended Readings

    como el amor - libros del rojas
  • Historieats 1989-1990. Roberto Jacoby y Sebastián Gordín

    Exhibition at Galería Nora Fisch, Oct-Dic 2013

    Roberto Jacoby y Santiago Gordín - Presentimientos cientificos
  • El deseo nace del derrumbe

    Roberto Jacoby

    jacoby
  • ¿Arte light? Sobre la obra de Rosana Fuertes y Daniel Ontiveros

    Gustavo Buntinx

    Rosana Fuertes, Los 60 no son los 90, 1994, detalle2

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