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Photo: Nude, by Francis Bacon (Museum of Modern Art of Kindness of Buenos Aires).
Museums are one of the privileged scenes of the city. Just three centuries ago, they did not exist, but since the nineteenth century they have become more and more an essential institution of urban life. The museum is a mix of treasure chamber (represented by its own collection, composed of unique or rare pieces) with animation. Pleasure and learning coexist in the museum. Especially in museums of modern and contemporary art, which have become in recent decades real machines to produce experiences.
Today reopened, enlarged and renovated, the Museum of Modern Art of Buenos Aires (MAMBA) and the celebration brings together the whole world. It is the cultural event of the year, not only because of the long process that took this extension (since the beginning of the century, in several phases) but also because – for its curatorial policy and museum, its collection, its history and its new building. it is the great contemporary art museum of Buenos Aires
El Moderno (as its current director, Victoria Noorthoorn likes to call it) has a long history that cuts through bureaucratic and budget reports with genius kidnappings of several people who led it, starting with its founder, the critic Rafael Squirru. Squirru knew of postponements, at the same time as he managed to overcome everything. In 1956, he managed to found a museum that had neither his own collection nor his seat: he started from nothing and left a lot. For many years it was a traveling museum. He even managed to collect a splendid sample of the best of Argentinian art and download it on a cabotage boat, the Yapeyú, to browse it through twenty cities for more than five months.
In the early 1960s, El Moderno remained in one of the upper floors of the San Martín Theater and he remained until the late 80s, when he moved (1989) to the headquarters current of San Juan 350, in the building that had belonged to the tobacco company Nobleza Piccardo. It was the first headquarters of the museum which had several exhibition halls, a place to protect the collection, the library and some other services. Over the years, El Moderno has developed (but for this he had to overcome many difficulties, including bureaucratic obstacles and a lack of budget). The eternal Argentine struggle between those who make and those who put obstacles (because not always the adjournments were due to budgetary difficulties, in the postponements suffered by the culture there is a lot of l & # 39; The mediocre spirit of bureaucracy). ] Photo: Oculos, by Lygia Clark (Museum of Modern Art of Kindness of Buenos Aires).
Between 2005 and 2010 was closed by spares, but the truth is that only in the final phase of this closing period was invested in the recovery of the building and in the construction of the rooms worked until the closing of a few weeks (closing which was necessary to carry out the works which would make it possible to connect the different parts of the museum)
Now El Moderno is splendid. It has more than 11,000 square meters of total area, which allows it to double the number of exhibition halls (it will now be 10 rooms), it will also have a coffee, as well as a new educational space (and in March 2019 will incorporate the library, which is now working in another building, Moreno Street.)
The new halls will exhibit at least five samples at a time and devote about 1200 square meters to its own heritage (which is the most important of the country dedicated to modern and contemporary art of Argentina). On Thursday, July 13 (and until October 14), to celebrate this historic event, El Moderno inaugurates the exhibition "History of Two Worlds: Latin American Experimental Art in Dialogue with the collection MMK, 1944-1989 " which is monumental: it consists of some 500 works by 100 artists. Among these 500 works, 100 belong to the Museum of Modern Art of Buenos Aires, 105 come from the collection of the Museum of Modern Art Frankfurt (MMK), and more than 300, from public and private collections in Europe , USA. and Argentina. The exhibition brings together the art of the Latin American avant-garde with that of the European avant-gardes who worked at the same time and on the same problems.
The exhibition was organized and organized by El Moderno in collaboration with the Museum für Moderne Kunst [Museo de Arte Moderno] Frankfurt. This collaboration is also historic since it is the first time that a European museum of first level opens its doors so that its collection is rethought by conservatives Latin-American. Before exhibiting in Buenos Aires, the exhibition was exhibited in Frankfurt. The show that arrives in Buenos Aires lacks some of the works that were seen in Germany, which could not travel because of the fragility of the mediums with which they are made, but they were replaced by pieces of the same style and retaining the curatorial writing.
Audiences will see works by Jaspers Johns, Kenneth Kemble, Lygia Clark, Leon Ferrari, Yuyo Noah and Joseph Beuys in confrontation and dialogue with works by Ricardo Carreira, Alberto Greco, Francis Bacon, Gerhard Richter, Antonio Vigo and Nicolás García Uriburu
The exhibition begins in 1944 because while Europe is at war, in Argentina an avant-garde was born: the concrete art of the Plate River. There are nine works by Lucio Fontana, the Rosario that served as a bridge between the two worlds (although for decades the Europeans of the avant-garde believed that this great rupturist who cut the tissues and pariah the structure of the work was Italian). Upon his arrival in Europe, Fontana publishes the First Manifesto of Spatialism that influences the Frenchman Yves Klein and the Italian Piero Manzoni
The exhibition presents a journey through half a century of modern art seen with new eyes and looking for new resonances. Invite to live new experiences.
