Documents of 20th-century Latin American and Latino Art

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  • ICAA Record ID
    761451
    TITLE
    Equipo de contrainformación, Texto mecanografiado, Buenos Aires-Rosario, Argentina, 1973.
    DESCRIPTION
    11 leaves
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Typed sheet – Other
    BIBLIOGRAPHIC CITATION
    "Equipo de contrainformación," 1973. Typed manuscript. Personal archive of Graciela Carnevale, Rosario.
    NAME DESCRIPTORS
    Kennedy, Norma; Osinde, Jorge; Perón, Juan Domingo; Tucumán Arde; Unión Obrera Metalúrgica (UOM)
    GEOGRAPHIC DESCRIPTORS
Synopsis

This document by the Equipo de Contrainformación [Counter-information Team] (the only material written by the group) is divided into three sections. The first is a declaration of principles; the second is the script for the historical account (itself divided into four parts) that is one component of the audiovisual presentation prepared by the group on the Ezeiza massacre; and the third is a transcript of the testimony given to the artists by a Peronist worker who traveled to Ezeiza to meet ex-president Juan Domingo Perón after his return from a long exile.   In the first section, the group traces its trajectory as part of the avant-garde as well as the increasing politicization that lead into Tucumán Arde [Tucumán is Burning]. It indicates the objectives of the Equipo de Contrainformación: “to join in the people’s struggle for liberation as militant revolutionaries by means of specific expressive instruments.” They conceive their contribution as a combination of service in terms of generating awareness and propaganda. At the same they would collaborate on the formation of a revolutionary culture. The group justifies their decision to make the communicative quality of the material a priority given that “its value is measured in relation to its effectiveness, in other words, in how well it accomplishes its political mission.”  In their judgment, their work is not only for the people, but also with the people, as well as learning from the people. They also point out their adherence to the declarations and appeals of the encounter of Latin American visual artists in Habana (1972). They point to the enormous impact of the massacre at Ezeiza when referring to its selection as the theme for the audiovisual presentation. They also clarify the structure of the project that includes two narrative levels: the testimonial of the Peronist worker, illustrated with color drawings, and the ideological-political position of the group, supported by documentary photos.

Annotations

After the Tucumán Arde interruption caused by the show’s closure in Buenos Aires, the difficulties that the Rosario and Buenos Aires avant-garde groups had in remaining cohesive and committed to their quest for a “new aesthetic,” generalizing as such, their abandonment of art, became evident. In the case of the Rosario artists, the group’s dissolution was hastened on once the work was completed. The principal artists who realized the work met between December and the summer of 1968 to assess their status. After a painful and exhaustive process wherein repeated attempts were made to avoid dissolution, the decision was made to disband the group. Those present promised never to participate in any galleries, museums, competitions, awards, or any other institution belonging to bourgeois art. All were strictly true to their word as none of them returned to that visual arts sphere in the years that followed. In 1973, Graciela Carnevale, Juan Pablo Renzi, Araldo Acosta and José Lavarello, all former members of the Grupo de Arte de Vanguardia de Rosario, join what they call “Grupo de Contrainformación.” The group created an audiovisual presentation on the Ezeiza massacre for which they photographed and interviewed various people at the same place where the events occurred. It concerned the violent incidents that took place on June 20 of that year in the areas surrounding the Buenos Aires airport in Ezeiza when the exiled political leader Juan Domingo Perón returned to Argentina after an exile of 17 years. At the presentation, the group issued an extensive declaration that accompanied the script for the piece regarding that tragic event.

Researcher
Ana Longoni.
Team
Fundación Espigas, Buenos Aires, Argentina
Location
Archivo de Graciela Carnevale, Rosario, Argentina.