Nowadays, Palermo District has become almost the epicenter of all new trends and vanguards in art and design. Therefore, we
propose to list a series of art spaces in the Palermo-Villa Crespo circuit. But before it seems appropriate to make a brief tour of the last 200 years of Argentine art history (and mention some representative artists for those interested in deepening on the subject).
To begin with, we approach to 1820, when the traveling artists arrived at the Rio de la Plata together with explorers. They devoted themselves to record, almost in a documentary way, views of the city, habits, and customs, the countryside, the gaucho and the Indians (Emeric Essex Vidal, Carlos Pellegrini, Leon Palliere and Johan Moritz Rugendas)
Started the twentieth century, the artistic landscape begins to explore modernity and avant-garde. Artists seek to express a new world, with humanist ideas, but through formal resources. Around 1920 there were three outstanding groups:
Florida Group: formed mainly by upper-middle-class members. They believe in the intellectual richness of America, but they do not deny ties with Europe, which provides valuable influences. (Antonio Berni, Norah Borges Juan del Prete, Raquel Forner, Emilio Pettoruti, Lino Eneas Spilimbergo, and Xul Solar)
Grupo Boedo: a core formed in left-wing libraries in the heat of the works of Tolstoy, puts the emphasis on social problems (Adolfo Bellocq, Guillermo Facio Hébequer, Abraham Vigo)
La Boca Group: its style was focused on the world of work in immigrant neighborhoods. (Victor Cúnsolo, Eugenio Daneri, Fortunato Lacámera, Benito Quinquela)
Averaging the ’40s, artists seek to run away from the formality of art, the rational character and approach a non-figurative, abstract art. The work becomes something like a project, an invention, using geometry, the measurable and the precision. Movements were known as Grupo Madí, Arte Concreto and Informalist Movement emerge (Alfredo Hlito, Enio Iommi, Claudio Girola)
Towards the decade of the ’60, two are the most remarkable events in the artistic environment.
The New Figuration group is formed. They look up for a return to figurative painting in opposition to the prevailing abstraction, although painters treat the subject in an informal and expressionist manner (Rómulo Macció, Ernesto Deira, Luis Felipe Noé and Jorge de la Vega). The legendary Di Tella Audiovisual Experimentation Center is founded. Having worked for about a decade, the Institute provides facilities, funds, and support for the development of projects. During this time, the public of Buenos Aires sees and participates in artistic experiences of various kinds, ranging from playful participation to works of strong political content. It was a hotbed of talent and its former members are known as the Generation of Di Tella (Liberio Badii, Delia Cancela, Julio Le Parc, Rogelio Polesello, Marta Minujin, Ruben Santantonin, Leon Ferrari, Pablo Suarez, and Federico Klem).
Premediates the decade of the 70s and the military dictatorship broke out; the Argentine artistic field is not isolated to such a reality. In a context of censorship, repression, fear, and death, the artists represent it with metaphorical language or direct references. The prevailing themes have to do with social upheaval and political repression, environmental pollution produced by industries and the advance of machismo, as well as the landscape and the simplicity of the everyday world as a resource for survival (Pablo Suárez, Juan Pablo Renzi and Diana Dowek). Already at the beginning of the decade of the ’80, a new generation of artists began to stand out, in which European and North American aesthetics impact. In the productions after recovering democracy, the collective pain unfolds, with a symbolic elaboration of the disappearance of people. It was a time, were unstable images predominated, variegated compositions, unbalanced spaces, and a precarious figuration in terms of the precision of their forms. (Juan José Cambre, Guillermo Kuitca, Diana Aisenberg, Marcia Schvartz)
Arriving at the end of the century, and the millennium, one of the characteristics that become more evident in art is the prominence acquired by the “new media”, that is, photography, video and digital art. The documentary possibilities of photography and video provide a new impetus to alternative forms of production to the art market, such as public art, interventions in nature, urban interference, actions or body art. Also, commercial galleries dedicated to contemporary art multiplied during the nineties and a large sector of collecting decidedly turned to the production of young artists, encouraging their financing and boosting their circulation.
This entire path confirms once again the validity of Argentine art at a regional level, and also worldwide, expressed in the number of artists, galleries, ateliers, and existing art spaces, as well as the presence in international fairs and biennials. Next, we propose a selection of galleries, with samples of Argentinean and Latin American art, cultural centers that also include workshops and literary spaces, with cafes and bookstores, photography, painting, sculpture, digital art, and new supports.
Usually, each gallery handles a profile of specific artists so we recommend visiting the sites to know in advance the proposal, as well as confirming visiting hours.
For those interested in acquiring original works of art, we encourage you to ask and learn about the purchase possibilities offered by each space.
1.Galería Unión Costa Rica 5929//2.Galería de Arte Palermo H Honduras 5929//3.BMA – Bolmani Modern Art Honduras 5550// 4.Espacio Milo Lockett Cabrera 5507// 5.Ruth Benzacar Juan Ramírez de Velasco 1287// 6 .Nora Fish Av. Córdoba 5222 // 7.Gachi Prieto Uriarte 1373// 8.Granada Gallery Godoy Cruz 1644// 9.Galería Forma Thames 1620// 10.Dain Usina Cultural Nicaragua 4899// 11.Soler Espacio de Arte Soler 5072// 12.Quimera Güemes 4474//13.Adriana Budich Gurruchaga 1145// 14.Siete de Autor Gurruchaga 1060// 15.Pabellón 4 Juan Ramirez de Velasco 556 PB// 16.Hache Loyola 32
// 17.Arte x Arte Lavalleja 1062 // 18.El Blanco Gascón 1437// 19.Ftalo Galeria Gorriti 3864
The writer, Jackie Elsztein, is Conservation and Restoration of Art Specialist, if you want to see more of what she does, you can follow her here www.linkedin.com/in/jackieelsztein/ https://www.instagram.com/jackie.sz/