Documents of Latin American and Latino Art

Rubén Santantonín presented this work at the exhibition New Art of Argentina (Minneapolis: Walker Art Center, September 9 – October 11, 1964 [...]

The text explains that the selection criteria for the artists appearing in the exhibition Buenos Aires 64 (New York: Pepsi-Cola Co., September 1964) was to show different vanguard groups’ expressions existing in Buenos Aires. It briefly [...]

This text by Fermín Fèvre analyzes the upheaval provoked by La Menesunda [Hodgepodge], an installation organized by Marta Minujín, listing questions that touch upon various topics: the classic question regarding “what” is art; if it belongs to [...]

This article is an interview with artist Pablo Suárez in which he is questioned regarding his actions within the Argentinean artistic scene of the 1960s. Among the diverse events he relates, he mentions the realization of the happening called [...]

This document is a catalog for the exhibition 6 artistas en Lirolay. Sexteto [Six Artists in Lirolay: Sextet] (Buenos Aires: Galería Lirolay, January–February 1964). The participating artists were: Delia Cancela, Zulema Ciordia, Pablo [...]

This article describes the characteristics of the works included in the exhibition Sexteto [Sextet] (Buenos Aires: Galería Lirolay, 1964) and reprints the artists’ opinions regarding the show’s classification as Pop art, a term [...]

This text relates to the exhibition 6 artistas en Lirolay [Six Artists at Lirolay]. Sexteto [Sextet] held at Galería Lirolay (Buenos Aires) in January and February of 1964. It asserts that works by “exponen los campeones nacionales del pop-art, [...]

The text analyzes the happenings that took place at the Instituto Torcuato Di Tella [The Torcuato De Tella Institute] as an “exhibitionist neurosis.” It likewise makes reference to similar activities held during the same period at [...]

The text describes the environments presented in La Menesunda [Hodgepodge]. It emphasizes its scandalous nature, judging it to be an art fraud committed against the public. It refers to a survey conducted by the journalist on the attending [...]

This document presents the list of individual and group exhibitions that Rubén Santantonín participated in, as well as photographic reproductions of the artist’s works that were included in the Argentinean submissions to the VII Bienal de São [...]

Rubén Santantonín is selected for the Premio de Honor [Prize of Honor] at Ver y Estimar 1963 (Museo Nacional de Bellas Artes, Buenos Aires [...]

Rubén Santantonín is selected for the Premio de Honor [Prize of Honor] at Ver y Estimar 1962 (Museo Nacional de Bellas Artes, Buenos Aires [...]

This document contains two texts, one by Rubén Santantonín and another by Kenneth Kemble, as well as a reproduction of the work by Santantonín that was part of the national selections for the 1963 Premio Internacional de Pintura del Intituto [...]

Rafael Squirru explains that the idea for this exhibition as well as its “puesta en marcha” [initiation] arose from a conversation with Martha Minujín and Rubén Santantonín regarding the defeatist and indifferent [...]

This article analyzes the works of Josef Albers, Eduardo Barilari and Rubén Santantonín, who exhibited at the same time in Buenos Aires. It declares that “dentro de lo absurdo, lindan ya con la burla más cruel e inexplicable” [within the [...]

This negative critical commentary by Daniel Alberto Dessein points out that, although the exhibition costs of La Menesunda [Hodgepodge] were well-known, its content proved so surprising to the public that it became reminiscent of the millions [...]

This is from the catalogue of the Nuevo Arte de la Argentina [New Art of Argentina] exhibition (Buenos Aires: Instituto Torcuato Di Tella, February 18 through March 8, 1964). The document explains that the goal of the exhibition was to present, in [...]

Kenneth Kemble writes about Luis Alberto Wells and Rubén Santantonín and considers them to be artistas malditos [“maudit”] artists presenting an innovative art; although, it was difficult for the public attending at Galería Lirolay to digest [...]

Kenneth Kemble mentions the Museo Etnográfico, because of an exhibition of primitive Latin American art at the Wildenstein Gallery. He emphasizes the formalist values of the Araucanian carvings and the ceramics. Moreover, he reviews the Spanish [...]