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Brazenly, this manifesto categorically rejects the official forms of art and its practices in the city of Rosario, Argentina. It also stresses the marked unity and mutual understanding among the Grupo de Arte de Vanguardia when the group‘s inception. Much of the material in this text is typical of the discursive style usually found in manifestos—the heated tone, the rebuttal of the establishment, the collective character of the enterprise, and so on and so forth.


The Grupo de Arte de Vanguardia de Rosario—created by a fusion of three workshops, with artists from different artistic organizations (alumni from Juan Grela, the Grupo Taller, and recent graduates of the Escuela de Bellas Artes de la Universidad)—initiates its public collective actions and position statements at the end of 1965. “A propósito de la cultura mermelada [Concerning the Marmalade Culture]” (also known as the Anti-Marmalade Manifesto) speaks out the cloying, inconsistent official culture and its rusty perception of art.


The following is a complete list of those who signed the manifesto: Juan Pablo Renzi, Eduardo Favario, Estela Molinaro, Osvaldo Mateo Boglione, Silvia James, Fernando Adrián Barbé, Guillermo Tottis, Ana María Giménez, Martha Greiner, Carlos Gatti, Rodolfo Elizalde, Emilio Ghilioni, Aldo Bortolotti, Mónica Gárate, Edmundo Giura, Coti Miranda Pacheco, Jorge Slullitel, and José María Lavarello.

Ana Longoni.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of María Teresa Gramuglio, Buenos Aires, Argentina
Courtesy of the private archive of Jose M. Favario, Rosario, Santa Fe, Argentina
Archivo Graciela Carnevale, Rosario, Argentina.