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Back to the future: reviving an icon of the 1970s avant-garde in Buenos Aires

Now and then: waldengallery's distinctive facade in Viamonte street in Buenos Aires, and the original interior as it appeared in 1972, during its heyday as the Centro de Arte y Comunicación. Historian María José Herrera writes that the organization rallied architects, scientists, and artists to ‘work together to try and configure an art that was brand-new, straight from a continent that was waiting to occupy its place in the world order.’ Images courtesy of waldengallery, Buenos Aires.
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Beyond preserving the foundations of the old CAyC, waldengallery seeks to extrapolate them and visit the paths still unexplored. Picking up the CAyC’s insurgent spirit (but pointedly rejecting the internal masculine bias for which it was later critiqued), the gallery aspires to shed light on the contemporary Latin American subaltern. These efforts include paintings by the beloved queer Paraguayan artist Feliciano Centurión, and the conceptual practices of proto-feminist Mexican powerhouses Magalí Lara and Mónica Mayer (to whom the first number of waldengallery’s own publication, Yulinda, is dedicated).

Other gallery artists, Ocampo Feris notes, share the same ‘accumulation of marginalities – political, sexual, and exiled bodies’ that the CAyC bristled against. One, Rodolfo Marqués, offers a kind of high/low technology birthed by poverty: He assembles all kinds of ostensibly cutting-edge devices (gaming consoles, screens) using wood, sheet metal, and other cheap materials, as if the future itself could be bootlegged. When computers appear in his work, they have a transparent and accessible aspect. With echoes of Grippo and Gamarra’s communal oven, Marqués explains that he aims ‘to propagate “open source” as a method of production and also as an aesthetic. You can ask how it was made, you can make it yourself; it’s all about collective knowledge.’

It is a faith – if no longer in utopian promise, then in collective knowledge – that animates not only the artists of waldengallery and La Ene, but many Argentine artists working today. The echoes of the past intrude on the present, just as the tolling bells of the old Santa Catalina de Siena convent on Viamonte Street invade the retro-futurist gallery space. Such calls, Dourron says, ‘rally us, through art, to start a conversation about our own pressing needs.’

For more art news from Argentina, including the forthcoming Art Basel Cities: Buenos Aires activation at Collins Park during the Art Basel Miami Beach show in December 2019, please click here.

Top image: Archival materials from the Centro de Arte y Comunicación, which are being digitized by waldengallery. Image courtesy of waldengallery, Buenos Aires.


60 Jahre, 70er Jahre, Argentinien, Buenos Aires, Design, Malerei, Presse


Now and then: waldengallery's distinctive facade in Viamonte street in Buenos Aires, and the original interior as it appeared in 1972, during its heyday as the Centro de Arte y Comunicación. Historian María José Herrera writes that the organization rallied architects, scientists, and artists to ‘work together to try and configure an art that was brand-new, straight from a continent that was waiting to occupy its place in the world order.’ Images courtesy of waldengallery, Buenos Aires.
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Ihr Link zu uns. termine |  Tags: Presse, 60 Jahre, 70er Jahre, Design, Malerei, Buenos Aires, Argentinien
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  • Now and then: waldengallery's distinctive facade in Viamonte street in Buenos Aires, and the original interior as it appeared in 1972, during its heyday as the Centro de Arte y Comunicación. Historian María José Herrera writes that the organization rallied architects, scientists, and artists to ‘work together to try and configure an art that was brand-new, straight from a continent that was waiting to occupy its place in the world order.’ Images courtesy of waldengallery, Buenos Aires.
    Now and then: waldengallery's distinctive facade in Viamonte street in Buenos Aires, and the original interior as it appeared in 1972, during its heyday as the Centro de Arte y Comunicación. Historian María José Herrera writes that the organization rallied architects, scientists, and artists to ‘work together to try and configure an art that was brand-new, straight from a continent that was waiting to occupy its place in the world order.’ Images courtesy of waldengallery, Buenos Aires.
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  • The catalog for a 1970 show of Gianni Bertini at CAyC, with texts by Jorge Glusberg and Pierre Restany, is among the hundreds of pieces of archival documents that waldengallery is now digitizing. Images courtesy of waldengallery, Buenos Aires.
    The catalog for a 1970 show of Gianni Bertini at CAyC, with texts by Jorge Glusberg and Pierre Restany, is among the hundreds of pieces of archival documents that waldengallery is now digitizing. Images courtesy of waldengallery, Buenos Aires.
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  • waldengallery founder and director Ricardo Ocampo Feris stepped in to rescue the former CAyC headquarters, which after serving as a hair salon had fallen into disrepair. Image courtesy of waldengallery, Buenos Aires.
    waldengallery founder and director Ricardo Ocampo Feris stepped in to rescue the former CAyC headquarters, which after serving as a hair salon had fallen into disrepair. Image courtesy of waldengallery, Buenos Aires.
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  • The space was overhauled by Esteban Tannenbaum Arquitectos, but the spaceship-style catwalk and spiral staircase originally contributed by the architect team of Manteola, Sánchez Gómez, Santos, Solsona, and Viñoly were preserved. Photographs by Javier Agustín Rojas, courtesy of waldengallery, Buenos Aires.
    The space was overhauled by Esteban Tannenbaum Arquitectos, but the spaceship-style catwalk and spiral staircase originally contributed by the architect team of Manteola, Sánchez Gómez, Santos, Solsona, and Viñoly were preserved. Photographs by Javier Agustín Rojas, courtesy of waldengallery, Buenos Aires.
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  • Rodolfo Marqués is among a new generation of Argentine artists carrying forth the thematic concerns of the CAyC, aiming to, in his words, ‘propagate open-source’ technologies, as in the painted-wood gaming console Parodius, 2012. Image courtesy of waldengallery, Buenos Aires.
    Rodolfo Marqués is among a new generation of Argentine artists carrying forth the thematic concerns of the CAyC, aiming to, in his words, ‘propagate open-source’ technologies, as in the painted-wood gaming console Parodius, 2012. Image courtesy of waldengallery, Buenos Aires.
    MCH Messe Schweiz
  • Mexico City–born Luis Hidalgo’s rely on novel applications of digital processes, as in this digital textile piece, REmediation 002, 2016. Image courtesy of waldengallery, Buenos Aires.
    Mexico City–born Luis Hidalgo’s rely on novel applications of digital processes, as in this digital textile piece, REmediation 002, 2016. Image courtesy of waldengallery, Buenos Aires.
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