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    O nascimento de “Percanta” / Leon Ferrari
    “Percanta” : esculturas sonoras, musica não figurativa. -- São Paulo, Brasil : Pinacoteca do Estado, diciembre de 1980.
    Book/pamphlet article – Essays
    Ferrari, León. "O nascimento de 'Percanta'." In “Percanta”: esculturas sonoras, musica não figurativa. Exh. cat., São Paulo: Pinacoteca do Estado, 1980.

León Ferrari presents his sonorous sculpture Percanta, with technical explanations about the instrument, the title of the work, and non-figurative music. His mention of the use of the inverted pendulum in a series of sculptures formed with steel rods that are joined to its lower end and produce autonomous, non-figurative music with their own movement, stands out. Ferrari explains the term percanta, slang in Buenos Aires meaning a young woman.


León Ferrari (Buenos Aires, 1920–2013), son of the artist and architect Augusto César Ferrari, began later in life to dedicate himself to visual arts. This allowed him to serve as a bridge between the late-1950s artist generation and the young vanguard of the 1960s. His first works were ceramic sculptures; then, León experimented with wire structures, visual writing, and collages. What stood out from his work were two branches: a political line that strongly condemned military dictatorships, American imperialism, and Catholic Church ideology, as well as an Informalist approach to conceptual drawing or even within the Surrealist tradition. His 1965 object-montage, titled Civilización Occidental y Cristiana [Western Christian Civilization], was censured at the Centro de Artes Visuales del Instituto Torcuato Di Tella [the Torcuato Di Tella Institute’s Visual Arts Center] (see documents 743800, 744085, and 761879). Ferrari participated intensely in the 1960s events of political conceptualism (in particular, at the event Tucumán Arde [Tucumán Is Burning], 1968). In response to the most recent Argentine military dictatorship’s repressive regime (1975-83), he went into exile in Brazil, where he explored a variety of ideas, such as formalism and the reproducibility of a work, as well as the spatial relationship between sculpture and music (see documents 743960, 744392, and 743870, among others). Since 1984, he has exhibited again in Buenos Aires, where Ferrari again established himself definitely. 


León Ferrari exiled himself to Brazil from 1976-84, after being affected by the repression of the Argentinean military dictatorship.  


Reproduction of works-with-musical-scores in the catalogue. Text dated in December 2, 1980. 

Roberto Amigo
Fundación Espigas, Buenos Aires, Argentina
Courtesy of the personal archives of Alicia and León Ferrari, Buenos Aires, Argentina.
Acervo Centro de Documentação e Memória. Pinacoteca do
Estado de São Paulo, BR
Archivo personal León Ferrari.