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This document is a catalog of the exhibition El Grupo de los Trece en Arte de Sistemas [The Group of Thirteen in Systems Art] (Buenos Aires: Centro de Arte y Comunicación, December 1972 – March 1973).


The Centro de Estudios de Arte y Comunicación [Center for Art and Communication Studies] (CEAC) was created in 1968. Shortly after its first public exhibition Arte y Cibernética [Art and Cybernetics] (August- September 1969), it changed its name to the Centro de Arte y Comunicación [Center for Art and Communication] (CAyC). Led by director and theoretician Jorge Glusberg, the CAyC sponsored a number of different artists over time. The Grupo de los Trece [Group of Thirteen] was founded in 1971 and was comprised of Jacques Bedel, Luis Benedit, Gregorio Dujovny, Carlos Ginzburg, Víctor Grippo, Jorge González Mir, Vicente Marotta, Luis Pazos, Alfredo Portillos, Juan Carlos Romero, Julio Teich, Horacio Zabala, Alberto Pellegrino and Jorge Glusberg. Later, some of the artists left the group and new members were added. By 1975 the Grupo CAyC included Bedel, Benedit, Grippo, Portillos and Glusberg.

As part of the interdisciplinary activities undertaken by the CAyC from its beginnings in 1969 (See document 748067 “Qué es el CEAC” [“What is the CEAC”], in the Primera Muestra del Centro de Estudios de Arte y Comunicación de la Fundación de Investigación Interdisciplinaria presentada en la Galería Bonino de Buenos Aires [First Exhibition of the Center for Art and Communication Studies at the Foundation for Interdisciplinary Researchpresented by the Galería Bonino of Buenos Aires], August -September 1969), the CAyC began to organize courses and seminars offered by prominent intellectuals. Beginning in 1973 with the founding of the Escuela de Altos Estudios del CAyC [School for Higher Learning of the CAyC], these types of offerings became part of the school’s scope.

Jorge Glusberg coined the term “Systems Art” to denote the different artistic proposals that were developed at the CAyC. Under this concept, works are understood as “sistemas de signos” [systems of signs]; these, in turn, respond to different códigos [codes]: political, ecological, conceptual and cybernetic, among others. Beyond the diversity of meanings proposed by each work, all works contain the nature of a system. At the production level this involves the possibility of a certain serialization or perhaps a multiplication of these, as well as the significance of the creative process contained in the finished product.

Natalia Pineau.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of the personal archives of Carlos Ginzburg, Paris, France.
Courtesy of Benedit Familiy, Buenos Aires, Argentina
Courtesy of Clara Ferrari González Mir. Estate of Jorge González Mir, Buenos Aires, Argentina
Courtesy of the personal archives of Luis Pazos, Houston, Tejas,EE.UU.
Courtesy of the personal archives of Juan Carlos Romero, Buenos Aires Argentina
Courtesy of Horacio Zabala, Buenos Aires, Argentina
Courtesy of Nidia Olmos de Grippo, Buenos Aires, Argentina
Biblioteca del Museo Nacional de Bellas Artes.