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  • ICAA Record ID
    775235
    TITLE
    La extrema vanguardia / Antonio Berni
    IN
    Artinf. -- Buenos Aires, Argentina. -- No. 26-27 (Jun.-jul., 1981)
    DESCRIPTION
    p. 19 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Berni, Antonio. "La extrema vanguardia." Artinf (Buenos Aires), vol. 5, no. 26 - 27 (June-July 1981): 19.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

In this essay we find Antonio Berni writing about the avant-garde in general—he discusses how the movement is faring in underdeveloped countries, describes the artists involved, and ponders its separation from the general public. 

Annotations

Antonio Berni was born in Rosario, Province of Santa Fe, in 1905 and died in Buenos Aires in 1981. Berni went to Europe in 1925 to study art. He settled in Paris, where he became involved with the Surrealist avant-garde and began exploring the Communist theories that were in vogue at the time. On his return to Argentina, he arranged an exhibition of his Surrealist works at the Asociación Amigos del Arte in 1932. A year later, Berni joined the Equipo Polígrafo (the group founded by [Mexican artist] David Alfaro Siqueiros), which created the mural called Ejercicio Plástico [Plastic Exercise]. His theory of Nuevo Realismo [New Realism], an artistic expression of political and social commitment, evolved out of his vision of transcendent realism. In 1944, Berni founded the Taller de Arte Mural [Mural Art Workshop]. During the 1950s  he produced a number of paintings that depicted rural life, set mainly in the northern Argentine province of Santiago del Estero. These were, in fact, the first chapters in his narrative series of collages featuring his character Juanito Laguna. In 1962 he was awarded the grand prize for print and drawing at the Venice Biennale. The following year he began his Ramona Montiel series. During the ’60s and ‘70s—while continuing to produce paintings, collages, and prints—he created objects, installations, and happenings, and explored stylistic variations in the field of realistic figuration.  

This essay is remarkable because it expresses Berni’s critique of the avant-garde of the ‘60s and of contemporary art in underdeveloped countries. He voices a range of reactionary opinions and Stalinist views on the stages of material and cultural evolution, which he combines with his usual thoughts concerning the art world of that decade. The statement implicit in the work of Alberto Greco is used here by Berni in his frontal attack on the neo-avant-garde.

Researcher
Roberto Amigo.
Team
Fundación Espigas, Buenos Aires, Argentina
Location
Archivo Berni. Copia en Fundación Espigas (materiales especiales, carpetas Archivo Berni).