Latin America stomps in ARCOmadrid 2021
The ARCOmadrid contemporary art fair celebrates its 40th edition from July 7 to 11, although it will celebrate it with pomp in 2022, with the challenge of reactivating the market affected by the pandemic. In addition to its General Program, with the participation of established and emerging European galleries, Latin America will take on a new role with a special regional art section, produced in collaboration with the Argentine curator Mariano mayer.
The new model there raises the possibility of include works that do not require transportation for their exhibition or that they have the complicity of other galleries to get to the event. Among the participants there are already works from galleries such as Arróniz (Mexico City), Casa Triângulo (San Pablo), Constitution Y Rolf Art (Buenos Aires), Die Ecke (Santiago de Chile), Instituto de Vision (Bogotá), and Vigil Gonzales (Cuzco), among others.
As a prelude to his work in the Latin American sector of ARCOmadrid, Mariano Mayer presents Pre-books, an expo that can be seen at Casa de América until July 31, with a series of Latin American artists who will participate together with their galleries from the section Opening at the ARCOmadrid fair. It is a previous focus and it will be a coda.
Rebeca Guinea, director of programming at Casa de América, together with the curator of “Prelibros”, Mariano Mayer, and Maribel López, director of PHotoEspaña.
Juan Sebastian Bruno, Fernanda Laguna, Alejandro Leonhardt, Anna Mazzei, Andrés Pereira Paz, Liv schulman, Juan Diego Tobalina and Johanna Unzueta exhibit pieces that respond to the concept of “Pre-books” coined by Italian designer and educator Bruno Munari. They are pre-books determined elements that allow people who were never interested in “these objects called books” get started. As a material solution, he discovers objects that “are only visual, tactile, sound, thermal or material stimuli”.
The pieces came from the artists’ place of origin to the showroom sent through different systems designed to share data and postal mail.
Rehearsal Ampersand failed
The stamp Ampersand announced the winners of its First Prize for Essay, in two categories, whose titles will be part of its catalog. In the discipline of Social History of Written Culture, it was for Kant at the kiosk. The massification of books in Argentina, from Guido Herzovich; while in the area of Fashion Studies, he awarded the project Prodigious Marilú. Dolls, fashion and women’s education 1932-1960, from Daniela Pelegrinelli.
The jury formed by Antonio Castillo Gomez, Jose Luis de Diego Y Ana Mosqueda, director of the publishing house, highlighted “the solidity of the proposal, the originality of the hypotheses and the methodological rigor”, in addition to the relevance of the subject. And noted for the quality of its formulation two mentions: Populism and print culture, from Martin Bergel; and the Communist manifesto: three Argentine editions (1893-1998-2009), from Maria Celia Labandeira.
Among the projects on Fashion Studies, analyzed by Daniela lucena, Marcelo Marino Y Ana Torrejon, highlighted the “crossing with other disciplinary fields” of the winning project. And gave a mention to Fashion and feminism, from Laura Zambrini.
The reference otaku image next to the work of Pecci Carou.
Accusations to a painter
This week the accusation of plagiarism against the artist resounded in the art world and on the networks Fatima Pecci Carou, 37 years, for using images of the anime aesthetic in works that were sold on the Artsy platform. Although the imitation of Pecci Carou is undoubted, the pieces of fan art in turn, they could be copies of previous characters, manga or audiovisual pieces. In any case, the complaint generated an unusual wave of reactions.
In dialogue with Ñ, the artist -who had been interviewed about her show Flags and pennants at the Evita Museum- clarified that there was no sale of works to that museum, as claimed by some tweets, and she did not receive the Activar heritage grant from the Ministry of Culture of the Nation, of $ 50 thousand, but her curator, Eva grinstein. On the “naive, misinformed and anachronistic” accusation of plagiarism, Grinstein told Ñ that it is due “to the actions of people outside the procedures of contemporary art, for the purpose of political provocation.” Pecci Carou, on the other hand, attributes them to “a cruelty with a macho bias” for his feminist militancy in We Proponemyou. The Evita Museum has not yet been issued.