Documents of Latin American and Latino Art

For the first time in Montevideo in 1971, three years after the artistically-political transformative event, called Tucumán Arde, took place in Rosario and Buenos Aires, Argentina, a comprehensive, all inclusive account was published. The one who [...]

In this essay, the artist and performer Clemente Padín explains the concept of “street art and urban art” following the alternative art exhibition, Tomarte, held in the city of Rosario, Argentina, in April 1990, with the pretense [...]

In this essay, critic and performer Silvio de Gracia explains the importance of and provides context for “action art” in Latin America. He demonstrates its specificity in the region, showing how it differs from similar tendencies in Europe and [...]

In the Declaration that accompanied the Tucumán Arde [Tucumán is Burning] exhibition, the artists denounce “the hidden truth behind this Operation”: the attempt to destroy the unions and guilds of the northeastern part of Argentina through the [...]

This entire issue of the magazine Ovum 10 is dedicated to a report on Tucumán Arde [Tucumán is Burning]. The brief introduction, which precedes the documentary anthology, presents the work as “one of the most important and explosive actions [...]

This United States academic journal disseminates the translation of the Cronología [Chronology] prepared by the artists reporting on the events that occurred throughout 1968, as well as other documents of their timetable, although with modified [...]

After describing the inauguration of Tucumán Arde [Tucumán is Burning] in Rosario, Cousté goes back to the middle of 1968 in order to point out a series of episodes that can be seen as antecedents of both the subsequent uprising [Tucumán Arde] as [...]

This document by the Equipo de Contrainformación [Counter-information Team] (the only material written by the group) is divided into three sections. The first is a declaration of principles; the second is the script for the historical account ( [...]

This unsigned report, published in Sobre Nº 1 [Envelope no. 1], documents the experiences of a group of artists who joined the strike committee of Fabril Financiera in February 1969. It discusses the difference between producing a work of art or an [...]

León Ferrari writes a detailed evaluation of Tucumán Arde [Tucumán is Burning], framing it within the previous events (Itinerario del ’68) [Timetable for 1968]. In it he points out that “its purpose was to make art into a revolutionary tool, [...]

This brief but significant assessment of Tucumán Arde [Tucumán is Burning] entitled “Límites de lo legal” [The Limits of Legality] was published in the magazine Sobre Nº 1. The text, that was signed by the Grupo de Artistas de Vanguardia of [...]

In this paper, which opened the Encuentro Cultura 1968 [Culture Encounter 1968], there is a clear political will to construct an interventionist front based on instances of agreement regarding the political revolutionary horizon while superceding the [...]

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 [...]

Adhesive stickers like this one were pasted on public spaces, walls, doors, public restrooms, and mass transportation in Rosario, Buenos Aires, and Santa Fe. Flyers with the same design as the stickers were given out on the streets at the exits of [...]

This short news item was prepared as sketchy materials for press release  shortly after the inauguration of the Tucumán Arde [Tucumán Is Burning] exhibition at the CGT (Confederación General del Trabajo) in Rosario. The circumstances of the [...]

The first phase of the Tucumán Arde [Tucumán Is Burning] campaign began with the appearance of advertising posters bearing the word “Tucumán” pasted on walls in Rosario, especially in the industrial workers’ neighborhoods. The posters [...]

This declaration presents a series of definitions upon which the Tucumán Arde [Tucumán Is Burning] exhibition was founded. It defines it as “a collective work that, as it employs new channels of communication and expression, empowers the creation [...]

This early declaration—most likely written when Tucumán Arde [Tucumán Is Burning] was taking shape (early October 1968)—presents some of the basic ideas behind the group’s collective work. First, it denounces General Juan Carlos Onganía’s [...]

In this text, the work is presented as a joint production of the Grupo de Artistas Argentinos de Vanguardia (this is the only document in which they use that exact name) and the labor union. The basis of their denunciation of the government policy is [...]

This text is a detailed report prepared by the Tucumán Arde [Tucumán Is Burning] organizers that informed the press about the exhibition’s objectives, sent out briefly before the show’s inauguration at the CGT (Confederación General del [...]

In the declaration they issued as a companion statement to the Tucumán Arde [Tucumán Is Burning] exhibition in Buenos Aires, the artists condemn the regime’s violent excesses that, though subtle when applied to the arts, are nonetheless intent on [...]

In an interview, Juan Andrés Molinas said that various protests were organized when his father and more than four hundred other workers at the Ingenio Santa Lucía [Santa Lucía Sugar Mill] were fired. During a protest march toward Bella Vista [...]

This brief note, which appeared in Rosario’s most important daily newspaper, reports on the inauguration of the Tucumán Arde [Tucumán Is Burning] show at the CGT (Confederación General del Trabajo) headquarters in Rosario on November 3, 1968. It [...]

This article includes the most significant sections of the report prepared by Miguel Murmis, Silvia Sigal, and Carlos Waisman, the sociologists and members of the CICSO (Centro de Investigación en Ciencias Sociales [Social Sciences Research Center [...]

The author reveals a certain openness when he suggests that the experience created by the avant-garde of Rosario, Argentina, that led to Tucumán Arde [Tucumán is Burning] could be a potential bridge to what he considers the only valid “ [...]

This article refers to the circumstances surrounding the opening of the Tucumán Arde [Tucumán is Burning] exhibition?that was created by members of the Comisión de Acción Artística de la CGT (Confederación General del Trabajo de los Argentinos [...]

The article begins with a description of the work-of-art/event Tucumán Arde [Tucumán is Burning] that was held at the headquarters of the CGT (Confederacón General del Trabajo de los Argentinos [General Confederation of Labor of the Argentine [...]

This is an announcement of the forthcoming opening of the Tucumán Arde [Tucumán is Burning] exhibition at the headquarters of the CGT (Confederación General del Trabajo de los Argentinos [General Confederation of Labor of the Argentine people]), [...]

Glusberg’s article describes (with a few inaccuracies) Tucumán Arde [Tucumán Is Burning] (1968), the landmark artwork/event produced by the avant-garde of Rosario, Argentina, during the period spanning 1966–68. In terms of the work involved, [...]

León Ferrari writes to Leopoldo Maler about the London stage production of his book, Palabras ajenas [Other People’s Words].  He agrees to the new title of the English version, Listen Here Now, while proposing that it include the word “Vietnam [...]

León Ferrari writes to Leopoldo Maler about Palabras ajenas [Other People’s Words], to discuss the staging of the London production and to critique European culture. He talks about the presentation of Tucumán Arde at the Rosario and Buenos Aires [...]

The (anonymous) critic offers a formal assessment of León Ferrari’s work, pointing out the artist’s interest in the public’s reception and in creative freedom. The writer also refers to the search for an unfinished object and to the artist’s [...]

Adriana Malvido interviews León Ferrari. They discuss the public’s reception of his work, the popularization of art, art and political systems, the political effectiveness of art and, finally, the Falkland Islands War [...]