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Informalism
in Argentina
by
Jorge López Anaya
August 2003
Bibliographic reference of this dossier
Versión en español
 
Argentine Informalism incorporated processes which went against the “good taste” of the local practices. Based on the existential poetry of the time, through spontaneous gestures and the use of discarded material, it violated the limits of the traditional artistic genre and opened the road to the concept of the object, the installations and the art of action.
 
Definition | Background | Artists | Destructive Art
Greco
 
Greco. Fiesta
Alberto Greco
Fiesta, 1950
 
Alberto Greco (Buenos Aires, 1931 - Barcelona, 1965) studied for a few months at the National School of Fine Arts Manuel Belgrano and then, between 1947 and 1948, he worked at the atelier of Cecilia Marcovich. As it seems, around this time, he also received some training from Tomás Maldonado. In 1950, he published a book of poems in a hand crafted edition of 150 samples, under the title of Fiesta (Party).
He moved to Paris in 1954. In a letter addressed to a relative, he mentioned that he visited exhibits and painted a lot. Moreover, he pointed out that: “they are abstract things and they look fine”. The pieces which he referred to were generally painted on paper; they were of reduced size and reflected the influence of abstract lyrics –dominant in Paris– with some reference to Klee, Fautrier, Hartung and Vieira da Silva. On March 1st 1955, he exhibited a group of gouaches at the La Roue Gallery.
He returned to Buenos Aires a year later. Only a month after his arrival, he exhibited at the Antígona Gallery. He tried to present some monochromatic cardboard pieces, but they were not accepted by the gallery. He finally presented a few gouaches he had conceived in Paris, yet the crisis of painting as a language had already set in, one which Greco would deepen through his “actions”
He traveled to Rio de Janeiro in 1957, where he exhibited with another Argentine painter at the Petit Galerie. As it seems, he presented paintings
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