Rodriguez, Ernesto B. "Arte Duro." In Luna Ercilla, Orlando, Romero: arte duro. Exh. cat., Buenos Aires: Galería Lirolay, 1964.
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Ernesto B. Rodríguez introduces the exhibition of works by Alicia Orlando, Luna Ercilla, and Juan Carlos Romero at Galería Lirolay (Buenos Aires, September, 1964), pointing to their architecturally influenced drawings that seek to express the dynamic of the image. He also mentions that this kind of drawing implies in contrast an overt opposition to the “twilight abysses” of Informal-ism. Ernesto B. Rodríguez introduces the exhibition of works by Alicia Orlando, Luna Ercilla, and Juan Carlos Romero at Galería Lirolay (Buenos Aires, September, 1964), pointing to their architecturally influenced drawings that seek to express the dynamic of the image. He also mentions that this kind of drawing implies in contrast an overt opposition to the “twilight abysses” of Informal-ism.
Ernesto B. Rodríguez was a poet and a theoretician; he was also an art critic for a number of publications. Specifically, he studied sculpture so that he became a supporter of Grupo Orión and the 20 Pintores y Escultores [Twenty Painters and Sculptors association]. At the time of this exhibition, the young artists Alicia Orlando, Luna Ercilla, and Juan Carlos Romero were involved in teaching printmaking and working on experimental techniques. With regard to this particular show, they exhibited a collection of prints that flirted with the theories of Op Art. For the first three years after it opened in 1960, Derbecq herself was consulting for the Galería Lirolay, owned by Mr. and Mrs. Fano, a French couple of Jewish birth. Because young artists were being selected and promoted there every two weeks, the gallery developed a name for spotting new forms of artistic expression, opening its space to many budding artists who held their first solo shows within those walls. This document explores emerging visual arts of the period, the ones that had not yet been swept up into the institutional circuit in Argentina. After its showing at Galería Lirolay, the exhibition was presented at the Museo Provincial de Bellas Artes, where it was named The Hards.