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    Los modelos interesados de Luis F. Benedit : de la figuración al arte de sistemas
    De la figuración al arte de sistemas. -- Buenos Aires, Argentina : Centro de Arte y Comunicación (CAyC), 14 al 31 de ago. de 1970.
    Book/pamphlet article – Essays
    Glusberg, Jorge. "Los modelos interesados de Luis F. Benedit: De la figuración al arte de sistemas." In De la figuración al arte de sistemas.  Exh. cat., Buenos Aires: Centro de Arte y Comunicación, 1970.

The author describes and analyzes various works by Luis [Fernando] Benedit in support of his characterization of the artist’s work as an example of social research. The traditional idea of what is considered artistic—a concept that focuses on a finished product that can be sold to those who would like to look at it—is thus replaced by one that sees art as a generator of experiences, practices or happenings, as something that can introduce problems or knowledge that had not been specified in advance.


In 1968, the Centro de Estudios de Arte y Comunicación [Center for Art and Communications Studies (CEAC)] was created, which, shortly after its first public event at the Galería Bonino (August–September 1969), changed its name to Centro de Arte y Comunicación [Art and Communications Center (CayC)]. Always led by Jorge Glusberg as director and theoretician, the CAyC sponsored several different artists throughout its time. In 1971, the Grupo de los Trece [Group of the Thirteen] was created, made up of Jacques Bedel, Luis Benedit, Gregorio Dujovny, Carlos Gizburg, Víctor Grippo, Jorge González Mir, Vicente Marotta, Luís Pazos, Alfredo Portillos, Juan Carlos Romero, Julio Teich, Horacio Zabala, Alberto Pellegrino, and Jorge Glusberg. Later on, some artists moved on while others were included; in 1975, the CayC Group included the participation of Bedel, Benedit, Grippo, Portillos, and Glusberg.

The artists who were represented at the De la figuración al arte de sistemas [From Figuration to Systems Art] exhibition at the Museo Provincial de Bellas Artes Emilio A. Caraffa (Plaza España-Córdoba, August 1970) were Nicolás García-Uriburu, Benedit, and Edgardo Antonio Vigo.  

“Arte de sistemas” was the term coined by Jorge Glusberg to define the various artistic proposals carried out within CAyC’s sphere of influence. According to this definition, a work was understood as a system of signs that could, in turn, refer to a variety of codes: political, ecological, conceptual, and cybernetic, among others. Therefore, above and beyond the myriad meanings suggested by the works, they all had something in common in that each could be classified as a system. This meant that the works could theoretically be either mass produced or multiplied in some way, thus stressing the relevance of the creative process rather than the finished product. 

Natalia Pineau
Fundación Espigas, Buenos Aires, Argentina
Biblioteca del Museo Nacional de Bellas Artes.