#marta minujín

[luckyacid]

Marta Minujín Making a Presence, 2024 Installation view kurimanzutto New York, 2024

[twixnmix]

Andy Warhol and Marta Minujín photographed by Claudio Leiman, 1985.

[poliwait]

La catástrofe de la percepción, 1983. Marta Minujín.

[abwwia]

Marta Minujín in Paris with her work Mattress,1962, before destruction

Courtesy the artist Tate

[openingadoor]

Marta Minujín. Questionnaire from MINUCODE. 1968. via MOMA

[longlistshort]

Kurimanzutto is currently showing two bodies of work from Argentinian artist Marta Minujín’s remarkable and varied career. The brightly colored soft sculptures are captivating but the darker pieces provide an intriguing balance.

From the press release-

“Easel painting is dead,” Marta Minujín explained in 1966, “Today man can no longer be satisfied with a static painting hanging on a wall. Life is too dynamic.” This pronouncement on painting’s demise centers a “death v. life” dialectic that propelled Minujín’s artistic experiments throughout the tumultuous 1960s. Her pursuit of a radically dynamic and temporal art that could, in her own words, “register changes that take place minute by minute” turned Minujín into a trailblazer of happenings, performances, participatory environments, and mass media art in her home country of Argentina as well as in France and the U.S.

Such a pioneering trajectory was first set into motion by two bodies of work created before 1965: Minujín’s soft sculptures, known as “Los eróticos en Technicolor [The Erotics in Technicolor]” and her chthonic paintings and assemblages in an informalist style. Together these discrete chapters of her oeuvre form a tensely intertwined conceptual dyad ruled by opposite forces, Eros and Thanatos, respectively. Their common ground—what they evoke as a site registering changes—was the body. Both series generated radically anthropomorphic artworks while implicating the body of the artist, the viewer, and the body politic, too.

For the first time since 1963, when Minujín’s informalist assemblages shared her Paris studio with “Los eróticos”, these two series of work have been brought exclusively together, allowing for their dialogue on the vulnerabilities and joys of the embodied condition to unfold. They speak of crises that go well beyond painting’s purported expiration—houselessness, chronic disease, ailing democracy, and the sexual revolution, among others—and that, though proper to the 1960s, resonate with present circumstances. Yet, by virtue of their Janus-faced nature, Minujin’s early works also suggest the possibilities of community, healing, and jubilant defiance before such upheavals and predicaments.

This exhibition closes 6/8/24.

[proustian-dream]

Marta Minujín, La destrucción. Performance. 1963

[mirabile---visu]

Marta Minujín

[comme-des-chatons]

In February 1979, Marta Minujín wrote to the McDonald’s Corporation to request sponsorship for a project: “I write to you because I have an idea to be made with hamburgers.” Minujín planned to build an iron replica of the Statue of Liberty and install it lying down in New York’s Battery Park, a dormant icon awaiting revival. Visitors would be able to enter the sculpture and traverse walkways inside it. On the tenth day of the presentation, the artist proposed to stage a huge free lunch for the public, during which McDonald’s employees would ascend fire truck ladders and plaster the statue with hamburger patties, which would then be grilled by flamethrowers.

[wabrahamsen]

[voguecovers]

• Vogue México y Latinoamérica, September 2024

Argentine plastic artist Marta Ines Minujín, photography by Lucas Ricci

❛ creative director and styling Gaston Olmos, head of content Karla Martinez de Salas

25th Anniversary Vogue México y Latinoamérica

[artatak]

Buchpräsentation: Lena Geuer “Arte argentino - Ästhetik und Identitätsnarrative in der argentinischen Kunst”

26. Mai 2023, 18.30 Uhr in Andenbuch, Berlin

Die Monografie "Arte argentino – Ästhetik und Identitätsnarrative in der argentinischen Kunst. Ausgewählte Arbeiten von Marta Minujín und Luis Felipe Noé" von Lena Geuer erschien 2022 im transcript Verlag. Das Buch liefert für den deutschsprachigen Raum eine erste umfassende Studie, die den Begriff der ‚arte argentino‘ mittels postkolonialer und sinnlich-materieller Ansätze kritisch durchleuchtet. So hat die Autorin das Verhältnis zwischen Eigenem und Fremdem in Hinblick auf Identitätsnarrative in der künstlerischen Praxis sowie in der nationalen und geopolitischen Aneignung von Kunst ausführlich untersucht.

In den 1960er und 1970er Jahren lebten Marta Minujín und Luis Felipe Noé in den internationalen Kunstmetropolen Paris und New York, bevor sie in den 1980er Jahren nach Buenos Aires zurückkehrten. Die Künstler:innen haben die global vernetze Kunstrezeption ab den 1960er Jahren durch ihre Arbeiten mitgestaltet und nachhaltig geprägt. Vor dem Hintergrund der Global Art History widmet sich die Studie auch eurozentrischen Narrative in der Kunstgeschichtsschreibung, die durch das Potenzial der ‚arte argentino‘ dekonstruiert und in transkulturelle Erzählungen transformiert werden konnten.

Die Veranstaltung findet in deutscher Sprache statt, mit einer kurzen Einführung in spanischer Sprache.

Moderation: Katerina Valdivia Bruch

Buchhandlung und Kulturraum Andenbuch, Bergmannstr. 59 (im Hof), 10961 Berlin

>> Mehr Information

[glamboyl]

Argentinian artist Marta Minujín, 74, has created a monumental replica of the Greek Parthenon from 100,000 copies of banned books. According to the artist, it symbolizes the resistance to political repression. The Parthenon of Books was displayed in Kassel, Germany at a historic Nazi book burning site. The books were given away to visitors when the art installation was dismantled.

[poliwait]

Marta Minujín in her studio on rue Delambre in Paris, with her first multicolored mattresses, 1963. 

[iaintnoflower]

Domingo de sincericidio

Mi hermano Marco me dijo,

Arriesgate más.

Recuerdo un poema de Tamara Grosso que dice:

Si vas a fracasar,

fracasá en grande.

Recuerdo el Frac asado de Marta Minujín

Y su campaña de vacunación contra el triunfalismo.

Quizás

debería aplicarme una dosis.