Documents of Latin American and Latino Art

This newsletter, published in June 1973, announced the opening of an exhibition of computer art at the CAYC. Continuing the research into the connection between art and technology that the center had been conducting since 1969, this article describes [...]

This newsletter announces the dates for the “Festival de formatos no comerciales” (Noncommercial Format Festival) to be held at the CAYC and provides a list of the films included in the “B Series,” which were produced by [...]

This text by Guillermo Whitelow celebrates the power of visionary ideas—specifically, Gyula Kosice’s The Hydrospatial City [La ciudad hidroespacial]. The author compares The Hydrospatial City to the Tower of Babel as a genuine attempt “to reach [...]

Kenneth Kemble writes about the architect and painter Clorindo Testa, focusing on his ability to work with the essential. Kemble discusses Testa’s exhibition of abstract paintings at Galería Bonino (Buenos Aires) and is taken aback with the use of [...]

The manuscript describes the history of Galería Bonino, its facilities in New York ten years prior to this publication, emphasizing its vitality, aesthetic integrity and discovery of upcoming artists; furthermore, its first exhibitions in the United [...]

The journalistic note explains the career of art dealer Alfredo Bonino from his beginnings to his international expansion. It points out how his gallery marketed artists and made them known in different venues. In particular, Bonino is recognized for [...]

Manuel Mujica Láinez described in a poetic manner the artistic history of the Galería Bonino, inaugurated in 1951, attaching the names of artists to it as if a journey had taken place. His words were delivered at the one hundredth exhibition, which [...]

Jorge Glusberg writes that today’s artist brings forth “meta-creations,” on one side, and on the other, that his attitude must be of rebellion against society. He explains Lea Lublin’s previous works of art side by side her current ones, [...]

Schedule of activities and exhibitions for the Semana de arte avanzado [Advanced Art Week] in Argentina. The following entries stand out in the program: Experiencias visuales 1967 [the 1967 Visual Practices], the shows of Ernesto Deira (1928-86) and [...]

Within the context of a journey through exhibitions open in Argentina at the time, Lorenzo Varela points out the singularity of an exhibition in which both the human figure and reality as a motive prevail, in overt opposition to the Informal art [...]

Ernesto B. Rodríguez analyzes Líbero Badii’s portrait sculptures. He claims that the visual arts strive to suggest the invisible by searching for its hidden laws, inventing new forms, and attempting to reveal a variety of sensitive spaces. [...]

Kosice’s essay refers to the topical nature and, therefore, the universal quality of “arte madí” [Madí Art]. He explains that Madí art has already spread beyond its original core in Buenos Aires, as he notes in his comments on this [...]

While introducing the work of Gyula Kosice, the author refers to movements that sought to create an independent object instead of imitating or deforming one. Juan Bay identifies the difference between the works produced by members of certain [...]

In this critical article, Blanca Stábile reviews the works by Gyula Kosice that were exhibited at the Galería Bonino in September 1953. In her analysis of these particular works, Stábile not only places them within the parameters of Madí art, [...]

In this show of the Argentinean group Otra Figuración [Another Figuration] at Galería Bonino in Rio de Janeiro, the Brazilian writer and art critic Geraldo Ferraz points out the definition by Jorge Romero-Brest made at the exhibition of the New [...]

A critique by Salvador Linares of the Luis Felipe Noé exhibition at the Galería Bonino (Buenos Aires), the show at which he presented his Federal Series. In the judgment of Linares, referring to the past is a way for Noé to avoid the conciliatory [...]

Kenneth Kemble praises the exhibitions of three artists: Pablo Curatella Manes, Carlos Squirru, and Kazuya Sakai, all from quite dissimilar generations, different racial origins and artistic influences. These differences make it possible to sketch a [...]

Kenneth Kemble writes about the dilemma of being simultaneously an art critic and an artist, mainly when one’s own work is being exhibited. The matter is worsened by having his wife, Silvia Torrás, included in the show as well. Also, Kemble [...]

Kenneth Kemble writes about the collective art exhibition at Galería Bonino (Buenos Aires) by artists Martha Peluffo, Jorge de la Vega, Juan C. Badaracco, and Rómulo Macció. He introduces them as the new academy of good taste, [...]

Kenneth Kemble writes about the exhibitions taking place in several galleries. By observing the works of five female artists, he is able to analyze the variables in Argentinean art at that moment. Based on a formal analysis of this production, he [...]

Favorable critique of the works of ModestCuixart Tàpies, an artist from Barcelona who according to Kenneth Kemble required careful observation for their understanding, due to a certain intensity, refinement, and ambiguity. On the other hand, he [...]

Noé presents the work of three artists exhibited at Galería Bonino, while at the same time discussing abstraction theoretically: its limits and relation to the problem of figuration as well to concrete art. Noé points to the work of Jorge de la [...]

Luis Felipe Noé reports on an exhibition by three Italian artists at Galería Bonino. While noting Bruno Cassinari’s work, he finds the lithographs to have been influenced by Pablo Picasso; in his judgment, Cassinari’s work is static, albeit [...]

Luis Felipe Noé makes a distinction between abstract and concrete art. He defines Abstraction as an expressive process that intellectually separates the elements of reality to reach its essence. Concrete art, on the other hand, fixes abstract [...]

Luis Felipe Noé defines the landscapes that Horacio Butler exhibited at Galería Bonino as a rare example of artistic gravity and balance in Argentine painting. Butler's work resolves the problems of figuration in the visual arts through the initial [...]