Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
Editorial Categories [?]
Synopsis

Luis Felipe Noé studies the Premio Palanza [Palanza Prize] submissions, opting for the work by Santiago Cogorno, given its existential abstraction. Standing out among his assessments are: the depletion of Luis Seoane’s painting in poster-making, the mobility of the real in Aquiles Badi’s production, as well as the dispersion of the figure in its environs in Juan Carlos Castagnino’s work.

Annotations

Luis Felipe Noé (Buenos Aires, 1933) began his studies with the painter Horacio Butler at the beginning of the 1950s, mounting his first exhibition in 1959. In 1961 he had a group exhibition as Otra Figuración [Another Figuration] at the Galería Peuser in conjunction with Ernesto Deira, Rómulo Macció and Jorge de la Vega.  The group exhibited together until 1965. Noé stood out among the group due to his theoretical reflections on art in contemporary society. Among his central tenets was the idea of “chaos as structure” of an artwork. Notable among his publications are Antiestética [Anti-aesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Editorial La Flor, 1971).  

A substantial renewal in the visual arts took place in Argentina during the second half of the 1950s. This process mandated an update of the understanding of visual language within art criticism.  The present document is part of a series that reassembles the body of art criticism written by Noé in 1956. The documents were published in the newspaper El Mundo [The World] (published between 1928 and 1967, it was the first newspaper presented in tabloid format in Argentina, and enjoyed popularity due to its illustrated stories). Noé’s visual arts education took place, from the beginning of the 1950s, in the workshop of figurative artist Horacio Butler, who himself had been a member of the innovative group of the 1930s. 

In this document Noé touches upon the existential aspects of an artwork as a justification for artistry; this concept would become one of the foundations of Noé’s visual arts theory in the 1960s. The Premio Palanza was created in the late-1940s by collector and patron Augusto Palanza.

Researcher
Roberto Amigo.
Team
Fundación Espigas, Buenos Aires, Argentina
Credit
Courtesy of the Private Archives of Luis Felipe Noé, Buenos Aires, Argentina.
Location
Biblioteca Nacional, Buenos Aires, Argentina.