Marta Minujín resignifies a historical performance for the Bienal, Encuentra a tu igual (Find your Match). This time, her proposal starts with an app through a series of questions inviting the audience to find their soul mates concluding with an encounter at the Puente de la Mujer (Woman's Bridge) in Puerto Madero, on which the artist will drop thousands of flower petals from a helicopter.
This piece is part of Minujín's staunch tradition started in the 1960s. Simultaneity in Simultaneity - Three Countries Happening, for example, was developed in 1966 in collaboration with German and American artists. At that time, while the event was taking place, 500 phone calls were made and 100 telegrams were sent to spectators who were following the intervention on TV, with the message "You are a creator."
Almost half a century later, in the age of Internet, Minujín will once again present one of her emblematic poetic urban interventions, between the pacifist audacity of the 60s' Flower Power, and the current communication fabric of social media.
Date: July 4
Time: 3 pm
Venue: Puente de la Mujer
Admission: Free and open to all
Produced by Ministerio de Planificación, Igualdad Cultural, Museo Nacional de Bellas Artes Neuquén and Ministerio de Cultura de la Nación
Curated by Oscar Smoljan and Rodrigo Alonso
App design: Héctor Di Luzio
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Marta Minujín 1943, Buenos Aires, Argentina.
She lives and works in Buenos Aires, Argentina.
She is a pioneer of performance art in Argentina. Her works pose a challenge to all possible categorization and to a constant redefinition of art.
Throughout her long career she has received important awards and fellowships including the one granted by the French Embassy (Buenos Aires, Argentina, 1962); the Guggenheim Fellowship (New York, United States, 1966); the fellowship from the Fairfield Foundation (New York, United States, 1967); the Rockefeller Foundation scholarship (New York, United States, 1968); and the Konex Award (Buenos Aires, Argentina, 2012).
She participated in the following art biennials:
Sao Paulo Latin American Biennial (Sao Paulo, Brazil, 1978); International Biennial of Sports in Visual Arts. Football in Art (National Museum of Fine Arts, Montevideo, Uruguay, 1980); 4th Biennial of Medellin (Medellin, Colombia, 1981); Sao Paulo Biennial (Sao Paulo, Brazil, 1983; 2008); the Biennale of Sydney; Venice Biennale (Venice, Italy, 1986) Mercosul Biennial (Puerto Alegre, Brazil, 1999 -2000; 2009), and International Art Biennial (Museum of Fine Arts, Buenos Aires, Argentina, 2000).
Some of her chief solo exhibitions include:
El Batacazo (Bianchini Gallery, New York, United States, 1962); Simultaneidad en Simultaneidad (Instituto Torcuato Di Tella, Buenos Aires, Argentina, 1966); Minuphone (Howard Wise Gallery, New York, United States, 1967); Marta Minujín (Galería Anaconda, Buenos Aires, Argentina, 1970); Minusquires (Harold Rivkin Gallery, Washington DC, United States, 1972); La Academia del Fracaso (Centro de Arte y Comunicación, Buenos Aires, 1975); Marta Minujín - Retrospective (Gordon Gallery, Buenos Aires Argentina, 1978); Marta Minujín. Sculptures (Museum of Modern Art La Tertulia, Cali, Colombia, 1984); New Sculptures. Marta Minujín. Re-dimensioning the Past toward the Future (Galería Ruth Benzacar, Buenos Aires, Argentina, 1986); Marta Minujín (National Museum of Fine Arts, Buenos Aires, Argentina, 1999); Laberinto Minujinda (Centro Cultural, Ciudad de Buenos Aires, Buenos Aires, Argentina, 1999); Edible Art (Hotel Costa Galana, Mar del Plata, Argentina, 2001); Marta Minujín: Minucodes (American Society, United States, 2010); Marta Minujín Works 1959-1989 (Malba, Buenos Aires, Argentina, 2010) among others.
Chief among her performances are:
Le Coq (1963); La destrucción (1963); ¡Revuélquese y viva! (1964); Cabalgata (1964); La Menesunda (1965); El Batacazo (1965); Suceso Plástico (1965); El obelisco dulce (1965); Leyendo las noticias (1965); Simultaneidad en Simultaneidad (1966); Prune Flat (1966); Importación-Exportación (1968); Circuit (1967); La imagen eléctrica (1969); Festival de la vida (1970); Buenos Aires Hoy. ¡Ya! (1971); Interpenning (1972); Nicappening (1973); Kidnappening (1973); The Soft Gallery (1973); Imago Flowing (1974); La academia del fracaso (1975); Comunicando con tierra (1976); El Obelisco de pan dulce (1979); Repollos (1977); Naranjas (1979); El Obelisco de pan dulce (1979); De Amarú a Barthes (1981); Carlos Gardel De Fuego (1981); La venus de queso (1981); El Partenón de Libros (1983); Operación Perfume (1987); Arte y Pancartas (1997); Operación Perfume and Arte encapsulado (2008); Rayuelarte (2009); 5 pregnant women (2009); La torre de babel con libros de todo el Mundo (2011); among many others.
Her most important exhibitions include:
Davidovich. Heredia. Luzatti. Marchese. Minujín (Galería Lirolay, Buenos Aires, Argentina, 1961); 30 Argentins de la nouvelle génération (Galerie Creuze, Paris, France, 1962); La Caja y su Contenido (Musée Rodin, Paris, France, 1963); New Art from Argentina (Walker Art Center, Minneapolis, United States, 1964); New Art from Argentina (The Akron Art Institute, Ohio, United States, 1964/The University Art Museum, University of Texas at Austin, United States, 1965); La Menesunda ( Instituto Torcuato Di Tella, Buenos Aires, Argentina, 1965); Homenaje a Viet-Nam (Galería Van Riel, Buenos Aires, Argentina, 1966); Art of Latin America since Independence (Yale University Art Gallery, New Haven, United States, 1966/ University of Texas Art Museum, Austin, United States, 1966/San Francisco Museum of Art, San Francisco, United States, 1966/ Isaac Delgado Museum of Art, New Orleans, United States , 1966); Information (The Museum of Modern Art, New York, United States, 1970); Art of Systems in Latin America (International Cultureel Centrum, Antwerpen, Belgium, 1970/ Palace of Fine Arts, Brussels, Belgium, 1970/ Institute of Contemporary Art, London, England, 1970); El marchand (Galería Artemúltiple, Buenos Aires, Argentina, 1976); Poeticas Visuais (Contemporary Art Museum, Sao Paulo, Brazil, 1977); Schemes. A Decade of Installation Drawing (Elise Meyer Inc, New York, United States, 1981); Women of the Americas. Emerging Perspectives (Kouros Gallery and Inter-American Relations, New York United States, 1982); Latin American Artists in the U.S. 1950-1970 (Godwin-Ternbach Museum at Queens College, New York, United States, 1983); International Art Show for The End of World Hunger (Minnesota Museum of Art, Minnesota, United States, 1987/ Kölnischer Kunstverein, Cologne, Germany, 1988/Barbican Art Gallery, London, England, 1988); The Latin American Spirit: Art and Artists in the United States, 1920-1970 (Bronx Museum of the Arts, New York, United States, 1988); Jorge Romero Brest. Homenaje (Fundación Pettoruti, Buenos Aires, Argentina, 1989); Pierre Restany. Le Coeur et la Raison (Musée des Jacobins, Morlaix, France, 1991); 90-60-90 (Fundación Banco Patricios, Buenos Aires, Argentina, 1994); Out of Actions: Between Performance and the Object (The Museum of Contemporary Art, Los Angeles, United States, 1998/ MAK – Austrian Museum of Applied Arts, Vienna, Austria, 1988/ Museum of Contemporary Art, Barcelona, Spain, 1999/ Museum of Contemporary Art in Tokyo, Japan, 1999); Arte de la Acción 1960-1990 (Buenos Aires Museum of Modern Art, Buenos Aires, Argentina, 1990); Informalismo Argentino ((Buenos Aires Museum of Modern Art, Buenos Aires, Argentina, 2003); La The Presence of Latin American Art in California Collections (Molaa Museum of Latin American Art, Long Beach, California, United States, 2007); Arte (no es) Vida. Actions by Artists of the Americas 1960-2000 (Museo del Barrio, New York, United States, 2008); WACK! Art and the Feminist Revolution (PS1 MoMA, New York, United States, 2008); among others.
1st Performance Biennial
April 27 thru June 7, 2015
Argentina 2015
2015 Biennial