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This article reviews the exhibition Summertime at the Centro Cultural Ricardo Rojas, December 1991-February 1992. It describes the exhibition as “retrospective-festive, that includes young artists—those who passed or did not pass through this space—and others from the generation —acclaimed or nearly so—that joined the celebration.” It concludes by listing the artists that participated: Juan José Cambre, Tulio de Sagastizábal, Guadalupe Fernández, José Garófalo, Sebastián Gordín, Jorge Gumier Maier, Magdalena Jitrik, Maggie de Koeningsberg, Liliana Maresca, Enrique Mármora, Osvaldo Monzo, Pablo Páez, Duilio Pierri, Juan Pablo [Renzi], Omar Schiliro and Marcia Schvartz. 


The Centro Cultural Ricardo Rojas occupies a central place in the understanding of Argentine art during the 1990s. Founded in 1984, it is a cultural extension of the Universidad de Buenos Aires that offers various activities including courses, talks, film presentations, etc. A few years after the Centro opened, the Galería del Centro Cultural Ricardo Rojas was opened in 1989; artist and art critic Jorge Gumier Maier served as its director, with Magdalena Jitrik joining shortly afterward as his associate. Although it was a marginal space within the Buenos Aires art scene at the time, it began to take on importance in 1991 and 1992. The artists of “El Rojas (Fabián Burgos, Graciela Hasper, Feliciano Centurión, Martín Di Girolamo, Alberto Goldestein, Sebastián Gordín, Miguel Harte, Agustín Inchausti, Luis Lindner, Nuna Magiante, Emiliano Miliyo, Esteban Pagés, Ariadna Pastorini, Marcelo Pombo, Cristina Schiavi, Enrique Marmora, Sergio Vila, Benito Laren, Omar Schiliro, Liliana Maresca and Alfredo Londaibere, among others), began to be incorporated into the agendas of key exhibition spaces, such as the ICI (Instituto de Cooperación Iberoamericana) del Centro Cultural de España and the Galería Ruth Benzacar. The reference to art trends of the past—such as Pop Art, Minimalism, Concrete Art (in the most personal of reformulations), as well as elements of Kitsch—have served to characterize the expressive styles of these artists. Towards the end of the decade, the artists who comprised “el grupo del Rojas” were generally understood as the representatives of “Argentine art in the 1990s.” 

This document indicates the “legitimacy” of this space as well as of those “young” artists that were linked to it (José Garófalo, Sebastián Gordín, Liliana Maresca, Enrique Mármora, Omar Schiliro and Magdalena Jitrik) when they participated collectively in the exhibition along with artists that were already “acclaimed or nearly so” (Marcia Schvartz, Juan Pablo [Renzi], Duilio Pierri and Juan José Cambre).

Natalia Pineau
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Fabián Lebenglik, Buenos Aires, Argentina
Biblioteca Nacional, Buenos Aires, Argentina.