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This text relates to the exhibition 6 artistas en Lirolay [Six Artists at Lirolay]. Sexteto [Sextet] held at Galería Lirolay (Buenos Aires) in January and February of 1964. It asserts that works by “exponen los campeones nacionales del pop-art, tendencia definible como la construcción de objetos fantásticos con elementos y aparatos cotidianos” [“the nation’s Pop art masters are on exhibit; the trend is defined as the construction of fantastical objects with everyday materials and devices”].


Sexteto (Buenos Aires: Galería Lirolay, 1964) is the name commonly used to refer to this exhibition also known as 6 artistas en Lirolay. Sextexto. The participating artists were Delia Cancela, Zulema Ciordia, Marta Minujín, Pablo Mesejean, Delia Puzzovio and Rubén Santantonín.

The use of the term pop-art by Primera Plana [Front Page] (Buenos Aires) in this review unleashed a great debate among the artists who were part of the exhibition; it was included in the article titled “Arte: Ortopedia, humor y algunas obsesiones” [“Art: Orthopedics, Humor and Some Obsessions”] in issue nº 63, on January 21, 1964. At that time this trend was extended to include aesthetic creations that differed from traditional canonical notions of “artwork.”

Owned by Mario and Paulette Fano, Galería Lirolay in the 1960s was managed by Germain Derbecq, a French critic and artist, who was also the wife of sculptor Pablo Curatella Manes. The gallery would mount new shows every two weeks. It was in this space that the artists who would later that same decade gain greater visibility at the Instituto Torcuato Di Tella [Torcuato Di Tella Institute] held their first exhibitions.

Primera Plana was the most prominent general information weekly of the 1960s. It was closely linked to the processes of economic and cultural modernization.

Natalia Pineau.
Fundación Espigas, Buenos Aires, Argentina
Fundación Espigas, Buenos Aires, Argentina.