Download Brochure: texts and images of outstanding exhibitions (1996-2012), conferences, catalogs and information on the architecture of Proa.
2011
The borders, the bridges, the imaginary lines that divide and organize states, races, cultures, and territories are coordinates, questioned by Of Bridges & Borders. The exhibition reunited a rigorously selected group of artists –John Bock, Carlos Garaicoa, Fabrice Gygi, Thomas Hirschhorn, Lang/Baumann, Jorge Macchi, Josep-Maria Martín and Gianni Motti–, invited to produced works for Proa, whom mainly work similar problematic on immigration, censorship and frontier.
Louise Bourgeois: The Return of the Repressed, for the first time in Latin America, the greatest exhibit of works by one of the most well known artists of the 20th century. The exhibition opened with the famous spider Maman (1999) displayed in the entrance to Proa, exhibiting 86 pieces in the interior rooms. A solid and extensive collection of drawings and sculptures highlighted Bourgeois’ radical thoughts and reflections on love: filial, parental, familiar –love itself. The pieces were a testament to the impact of psychoanalysis on the artist’s thoughts and reveal how her dialogue with this discourse created an emotional universe involving the complexities, conflicts, and subtleties of contemporary life. Installed in Proa’s esplanade, the monumental and emblematic Maman was the prologue to the exhibition; placing one of the artist’s capitals works in public space.
In July 2010, Proa presented Systems, Actions and Processes. 1965-1975. Over one hundred drawings, paintings, sculptures, photographs, videos and registers of performances and art actions from a crucial historical period, the 1960s and 70s. Creative explosion, political intensity and the redefinition of the role of art in society over the course of ten decisive years. The body. The emergence and spread of technology. The centrality of politics. Urban explosion and nature as possibility. These are the themes that ran through this exhibition.
Gods, rites and crafts of the Prehispanic Mexico featured over 150 archeological pieces from an array of cultures that inhabited the Gulf of Mexico, what is now the Veracruz region. Through a selection of works from the holdings of a number of institutions and museums under the authority of the Instituto Nacional de Antropología e Historia de México (INAH) and the Museo de Antropología de Xalapa, this exhibition, which is curated by David Morales Gómez, offered an unprecedented overview of the range of symbolic universes that these societies produced.
2010
During Summer, the Panorama of Contemporary Art included five international and Argentine artists that showed the diversity of techniques and formats. Art in the Auditorium II presented seven videos by international artists, exploring a wide range of formal and conceptual expressions. The artists Luisa Rabbia (Italy) and Alejandra Seeber (Argentina) exhibited videos and installations that took time and history as central topics. Otras voces, curated by Florencia Malbrán, brought together two artists, Alejandro Cesarco and Jorge Méndez Blake, who reflected on the present and connections with the past through literature, film and architecture.
The Futurist Universe. 1909-1936, a historic exhibition with more than 240 works from the Museo d’Arte Moderna e Contemporanea di Trento e Rovereto and under the curator-ship of its director, Gabriella Belli, uncovered the creative fury of the Futurists in a variety of disciplines.
A vision of the world: a system of creation put to the service of novelty, ignoring the past, accompanying the rise of electric lighting in early 20th century Italy, the noise of automobiles, the emergence of industries.
Imán: Nueva York reunited the production of prominent local artists during the 1960s. Pieces, projects, documents, books and photographs reconstructed a period of crucial interchanges for the visual consciousness of that time in which many Argentine artists travelled to New York.
Imán: Nueva York (Magnet: New York) explored the projects and works completed in Buenos Aires that reached the level of significant international presence, and presented an overview to reflect on the role of institutions at a moment in which a new form of producing, generating and disseminating contemporary art was being born.
Las Pampas: Art and Culture in the 19th Century brought together a unique group of pieces of the diverse cultures that offer the possibility to observe the customs fostered in the Pampas territory during an unsettling period of political and social organization. Over 500 pieces of silverwork, ponchos and daily objects that can be appreciated, not only for their esthetic value, but also for its craftsmanship and textile design. Las Pampas… allowed us to understand the richness and diversity of a historical period through the contemplation of pieces, which transformed the iconography of the Pampas.
2009
In March 2009 Proa presented the first edition of Art in the Auditorium, a video art project organized by Whitechapel Gallery, London. Books by artist of Luigi Pecci Collection explored the different variations of books by artist as an artistic expression, including works by Giovanni Anselmo, Alighiero Boetti, Maurizio Cattelan, Enzo Cucchi, Lucio Fontana, Mario Merz and Michelangelo Pistoletto.
Urban Spaces analyzed the evolution on the concept of the city in contemporary culture through the ideas and images produced by members of the so called Düsseldorf School of Photography: Andreas Gursky, Candida Höfer, Thomas Ruff and Thomas Struth.
In the large exhibition The Time of Art, a journey through five centuries of transcendental images in the history of art, the curatorial proposal organized the exhibition in eight cores referring to universal human subjects: Power-Everyday / Life-Death / Body-Mind / Love-Hate.
2008
In November 2008, Proa opened its new building with Marcel Duchamp: A work that is not a work “of art”, the first solo exhibition of the artist in Latin America.
The pieces were organized in groupings that revealed the connections between and the persistent return of the diverse preoccupations in Duchamp’s work as readymades, optics, perspective, transparency, chance, humor, reproduction, performativity, erotics, and display. In so doing, the exhibition pointed to the complexity of a set of central ideas in Duchamp’s oeuvre, and their challenge to the very foundations of art, then and still to this day.
Marcel Duchamp: A work that is not a work “of art” brought to Latin America many rare and exceptional works for an historic event possible thanks to loans from major museums and private collections.
2006
In December of 2006, the Proa Foundation decided to celebrate its tenth anniversary by putting a local icon literally in a new light: it invited artists Gonzalo Córdova and Horacio Pigozzi to design a light installation for the Nicolás Avellaneda bridge. For three nights the public had a chance to see the famous transporter bridge transformed in a riot of colors, and admire the beauty of the light reflected in the river, illuminating the La Boca quarter in all its splendor.
The aim in lighting up the bridge was to draw attention to the monument and bring out its historical and visual importance within the port, as well as offer a different appreciation of it in a playful gesture to bolster the identity and pride of the neighborhood. Over three days, people standing on the Proa terrace enjoyed a particularly splendid view of the illuminated bridge.
2006
The exhibition City and Barrio: La Boca presented historical photographs selected by Luis Príamo. The works were created between the end of the 19th and beginning of the 20th century by the first photographers to document the city. On view were the first photographic images of the Riachuelo and the port of the La Boca, the Vuelta de Rocha, the neighborhood’s architecture, the Nicolás Avellaneda transporter bridge as it was going up, and popular celebrations and union strikes at the major factories. Also included were engravings by Adolfo Bellocq that were the illustrations to the novel of daily life Story of a Suburb [Historia de arrabal].
2006
The show The City and the River provided a survey of the first images of the river, depicting it from the birth of the city up through contemporary artists’ experience of it.
The river, with its vast presence, often veiled by urban expansion, has taken on great relevance today as a permanent topic of public debate.
The show offered viewers, from those early engravings and historical photographs in their dialogue with contemporary reality, a deeper look at the problems the river poses for the city.
2006
Through a set of objects belonging to the five-decade-long career of artist Jesús Rafael Soto, the precursor of kinetic art, the exhibition Vision and Movement offered a thorough survey of his investigations of movement and optical effects.
The public had the opportunity to delve into all aspects of his work, and, through its various shifts, discover the visual strategies that brought Soto an international reputation.
2006
The exhibition Artists’ Collections featured the collections of the artists Roberto Jacoby, Marta Minujín, Marcelo Pombo, León Ferrari, among many others, to explore what motivates artists to own and contemplate the work of their colleagues. Among the questions the show sought to bring to the public were why the artists collect, what works they particularly care for in their collections, and the history of these collections.
This second installment of Artists’ Collections maintained the same goals as its predecessor: to give an account of the collections and help spread their legacy.
2005
Echo was the name chosen to sum up the whimsical experiment that gathered layers of interpretation among artists reflecting on the work of art. As in some archaeology of images, it joined together roles (artist-curator) and positions (creator-contemplator), in an attempt to map contemporaneity.
The various artists invited to participate wove these exhibitions together, as along some thread each of them took up in turn.
2005
Of Roses, Buds, and Other Fables evolved out a workshop of meeting and exchange devoted to the work of artist Rosemarie Trockel, coordinated by Victoria Noorthoorn. This experiment took shape with the aim of bringing the local scene closer to the problematics of transformation and metamorphosis, subjectivity as a process merging out of continuous change, and femininity; through a range of the techniques that dominated the on-site installation. All the works presented were created especially for this exhibition.
2005
Rosemarie Trockel, one of the most critical and polemical figures in contemporary German art, exhibited a group of works for the first time in Argentina; prominent among them were drawings, photographs, and videos, which reflected the diversity and richness of this artist’s figurative domain.
Trockel’s reputation on the international scene comes out of her work’s exploration of the metamorphosis of the subject. Artist and architect, Trockel has devoted her provocative art to demythifying the figure of the male-artist-genius, confronting it with typically feminine roles and motifs, managing to position herself in the –predominantly male– art scene of the 1980s.
2005
The exhibition Art of the 20th Century, jointly organized with Mexico’s Museo Rufino Tamayo, offered an overview of the past century’s various art movements, starting with the first avant-gardes.
This exhibition presented a group of around a hundred works emblematic of the different artistic movements, and featured important works by the century’s most celebrated artists, including Pablo Picasso, Fernand Léger, Francis Bacon, René Magritte, Max Ernst, Joan Miró, Rufino Tamayo, Roy Lichtenstein, Andy Warhol, and Mark Rothko.
This show was one of the solidest contributions the Foundation’s gallery spaces have offered for the appreciation of 20th-century art.
2005
The exhibition Cultures of the Gran Chaco presented in their entirety the pieces that form the legacy of the Museo Etnográfico, dating to the beginning of the 20th century, along with a selection of the photographs Grete Stern took between 1958 and 1964 in her ongoing trips to the Argentine region of Gran Chaco. These works attest to the rich cultures of the indigenous groups that inhabit the region and their social transformations over time.
The exhibition, of great documentary value, included objects in daily use, such as ceramic vessels, clothing, as well as festive masks of the region’s various ethnic groups (Tobas, Guaycurúes and Mocovies, among others), and depicted the customs and traditions handed down to these groups from their origins.
2004
Between September and December of 2004, the Proa Foundation presented an exhibition of Alighiero Boetti, considered an artist of extreme contemporary relevance and great creative range. The recurrent theme of his intense artistic career, from the end of the 1960s through the mid-1990s, constitutes an aesthetic debate that engages all aspects of society today, opposing the concept of individuality with the idea of the copy, and weighing the expressive function of art, its meaning in society, the way in which citizens belonging to different cultures interact in the world, and the systems through which these representations of reality are communicated.
2004
The exhibition The Magic of Laughter and Play in the Prehistoric Art of Veracruz presented for the first time in Latin America a Colossal Olmec Head, together with archaeological pieces belonging to the period that extends from 1200 B.C.E. to 900 C.E. With a rich selection of ceramics, laughter and death was the principal theme of the exhibition.
Inspired by a celebrated essay by Octavio Paz, “On Laughter and Death, Concepts Rooted in Today’s Popular Culture in Mexico,” a narrative thread was woven for an exhibition whose fundamental aim to recapture the origins and the poetry of millennium-old cultures.
This exhibition marked a watershed in the history of our country, since it was the first time a Colossal Head ever moved across Latin American territory.
2004
Between July and September of 2004, the Proa Foundation presented a distinguished group of works by the Brazilian artist Candido Portinari (1903-1962), from public and private collections in Brazil and Argentina. The show was organized into four areas that examined the various aspects of his artistic production: the social, the Brazilian, the universal, and his production in Buenos Aires and Montevideo.
Supplementing the works displayed were documents and photographs showing the ties the artist established with the intellectual world of the Rio de la Plata region.
2003
Twenty years after the inception of the “Italian Trans-Avant-garde,” the Proa Foundation presented an exhibition of five artists who have had a strong impact on the international art scene since the early 1980s.
Argentina first came into contact with the new movement through the frequent visits of the critic Achille Bonito Oliva, with his stimulating lectures, visits to artists’ studios, and his active personality. In this case, through the same critic’s curatorship, the public was shown the first historic paintings that help to frame the debate around international art and, at the same time, allow for new interpretation of our artistic context in the first years of the 1980s.
2003
The show Scenes from the ‘80s, The First Years included paintings, theatre, photo-journalism, music and other media, in commemoration of the 20th anniversary of the restoration of democracy.
At the start of the decade, in one of our country’s most difficult moments in its history, a set of artists began to experience a creative explosion in the visual arts, theatre, music, alternative publishing and fashion, in the process creating new alternative spaces that were true meeting-places.
This particular period was remembered in an interdisciplinary show that investigated and documented the artistic events and the political demonstrations that took place during those years, in order to understand the tense and contradiction-fraught climate of the moment.
2003
In the exhibition FASHION/ Photography + Design, the presence of Argentine clothing design, together with a historical survey of German fashion photography, brought a perspective to design, fashion, and industry that allowed deeper reflection on new tendencies in contemporary life.
The photography show included works by distinguished photographers: Helmut Newton, Rainer Leitzgen, Urko Suaya, among others. The dialogue between photography and design was at the very core of this exhibition.
2003
The show Anxiety and Devotion: Images of the Present was conceived as a broad overview of recent Argentine art. The artists featured in it had all explored the contemporary political, social, economic, and cultural setting to reflect on recent Argentine reality, delving into its history, myths, and collective memory.
Curator Rodrigo Alonso did intensive investigation for it, out of which he found works that first registered the economic crisis in our country. As such, the works, in this new interpretation, offered a panorama of the artist’s capacity to reflect on his milieu.
2003
The exhibition plan for Argentine Abstract Art was the result of a partnership between the La Galleria d’Arte Moderna e Contemporanea of Bergamo (Italy) and the Proa Foundation, part of a joint agreement for greater exchange and circulation of contemporary art. What the public was presented with was of unique historical and documentary importance, since it brought together, for the first time, the most distinguished group of abstract works from Argentina in both private and public collections. The show featured a video made especially as a historical/contextual supplement for those viewers unfamiliar with the evolution of our country over the last century.
This exhibition was one of the first productions the Foundation created for a public abroad.
2002
The show Mario Merz was divided into two parts: on the one hand, a historical section with works from the 1960s and ‘70s, that helped to define Merz’s importance and contribution in the history of contemporary art; on the other hand, two installation projects created by the artist especially for the Proa Foundation.
Mario Merz is one of the founding artists of the “Arte Povera” movement, which was launched in Italy in 1967, and contributed surprising creative ideas to the panorama of contemporary art, starting with the use of materials from daily life and the first spatial “installation” projects.
2002
The material presented in the show Metropolitan Icons, which formed part of the American core of the 25th São Paulo Biennial (2002), was a showcase of artists’ different aesthetic approaches and experiences around the theme of the urban. Its curator, Julian Zugazagoitia, assembled a group of works that offered viewers multiple points of view, treatments and methods possessing all the versatility and differences of the big city itself. The work of each of the artists was a new look at the city, ranging from Lucinda Devlin’s motel retreats to Doug Hall’s virtual realities in the landscapes of Hong Kong –experiments that approach the city as a medium for endless urban experience.
2002
Children of the Wind [Hijos del viento] and Christiano Junior were two national, introspective exhibitions which articulated different views of the 19th century.
Children of the Wind: From “Araucanía” to the Pampas was a selection from the Eduardo P. Pereda Collection that gathered together startling women’s adornments in silver and beads, textiles (ponchos and wraps), stone pieces and leaders’ insignias, masks and headdresses used in Mapuche culture for Nguillatun ceremonies.
A Country in Transition. Photographies of Buenos Aires, Cuyo and the Northeast, showed the photographs of Christiano Junior: the 71 images, of priceless documentary value, that make up the book of the same title published by the Fundación Antorchas.
2001
In December of 2001, Sol LeWitt was invited by the Proa Foundation to use its space to create some of his famous wall paintings.
heresult: six works that filled the gallery areas. For six weeks, a team of ten young artists, directed by an assistant chosen by the artist, worked to execute these outstanding paintings.
The colors of La Boca were the basis for the design of the wall paintings. In this way, the artist brought the Foundation’s interior to the urban surroundings of its neighborhood, erasing inside/outside boundaries.
2001
The exhibition Diego Rivera offered an overview of the entire career of the great Mexican muralist. Divided into three sections, it allowed viewers to contemplate the artist’s complex life through an extraordinary set of photographs provided by the Museum and House of Diego Rivera.
A splendid set of paintings belonging to the different periods of his work and a section with his own collection of popular art revealed the multifaceted creative personality of this major 20th-century artist. In this way, the exhibition took stock of a moment in history in which politics, art, and love converged in a utopian venture of immense vitality.
2001
Commemorating the centenary of the death of Giuseppe Verdi, the Foundation called together a group of set designers and specialists in opera costume, and invited them to pay homage, from a contemporary perspective, to the great composer.
The result was a special exhibition joining together the different aspects of Verdi’s oeuvre over his long career. Within the framework of their “installation” the guest artists managed to actively include the spectator within the work. One gallery especially devoted to the history of costumes and their contemporary approaches completed a panorama rich in ideas and suggestions.
2001
The exhibition Images from the Unconscious presented a set of five artists from the city of Rio de Janeiro, all of them patients with various mental illnesses.
In the 1940s, Brazil created and experimented with one of the major milestones in the treatment of mental illnesses: under the supervision of Nise da Silveira, it opened the now famous Museum of the Unconscious, the legacy of which is made up of the contribution of works created by creative workshops at various hospitals.
This show gave evidence of the creative capacity of these five artists, and of the remarkable parallels between their works and the major art movements of the 20th century.
2000
The show Exoduses presented the largest and most global photographic essay ever mounted. Artist Sebastião Salgado began this photographic project in 1993, documenting the new forms in human organization that are the result of end-of-century cultural migrations, through a group of more than 400 photographs taken around the world.
This exhibition was accompanied by giant-scale photographs distributed at various points around the city of Buenos Aires.
2000
The exhibition Jenny Holzer was the first-ever showing of this artist in our country, and presented her in two venues: within the galleries of the Foundation itself, and simultaneously, in projections of her famous light-texts at different points throughout the city, over three nights.
From the very start of her career Holzer made urban space the framework for her pieces, which she presented in the formats of electronic messages, television spots, public billboards, web sites and large-scale text projections, all of them a new contribution to conceptual art.
2000
The notion behind Panoramix was multidisciplinary: a presentation that would interweave circuits, alternative spaces, works of different mixed media and languages. The aim was to present, in a single space, an extensive panorama of different artistic disciplines in interrelation, with the idea of juxtaposition or synchrony deliberately stressed by its team of organizers.
Panoramix brought together alternative spaces and circuits that revealed the presence of new producers and emerging artists. For eight weeks, the galleries of the Proa Foundation fostered the co-existence of multiple, innovative projects that served as “resonance boxes” or “close-up lenses” to new aesthetic expressions.
1999
In commemoration of the centenary of the birth of Argentine artist Lucio Fontana, the Proa Foundation presented an important exhibition, co-organized with the Fondazione Fontana de Milano and the collaboration of the prestigious curator Enrico Crispolti. The public was able to contemplate, for the first time, the works of Fontana’s Italian period, for which he became internationally famous as one of the most important artists of the second half of the 20th century.
The exhibition grouped Fontana’s works according to the different moments in his aesthetic evolution.
1999
La Jacques y Natasha Gelman Collection of Mexican Art presented a set of works that comprise the various tendencies in Mexican sculpture from 1930 on. On the one hand, the evolution of the figurative character in Mexican art, inaugurated by the modernists Diego Rivera, Orozco and Siqueiros, Kahlo, Tamayo, and others. On the other hand, the collection presented many examples of abstraction, in works by Günther Gerzso and Mérida.
One fundamental nucleus of the exhibition, which was curated by Robert Littman, dealt with Frida Kahlo and Diego Rivera.
1999
The exhibition Sacred Ways, presented, for the first time, the Archaeological Collection of the Argentine Chancellery, a remarkable group of pieces describing the life and customs of the original peoples of the north-east of our country. The various sections of the show developed a curatorial guide to the beauty, art, and wisdom of our nation’s founding cultures. The group of pieces in metal gave the collection a singularity and special richness.
1998
Dan Flavin, considered one of the pioneers of minimalist art, devised, for the first time in history, a set or “concert” –as he calls it– a product of the interrelationship between space, natural light, electric lighting, and the changes produced in “the gaze.” The show, presenting the works of this widely recognized artist for the first time in Argentina, was organized jointly with New York’s Dia Center for the Arts, the current guardian of this artist’s legacy.
1998
The circulation of the work of Anselm Kiefer in our country goes back to the early 1980s, through the work of specialized magazines. The show organized by the Proa Foundation allowed the Argentine viewing public to contemplate for the first time the oeuvre of this important artist, admired by so many young Argentine artists ever since the ‘80s. The recognition was due him not only for the virtuosity of his working methods but for the daring and handling of his themes. The exhibition, curated by Robert Littman, was made up a set of works that presented different themes corresponding to different periods in his career, as well as the various disciplines in which the artist worked: paintings, works in lead, woodcuts, engravings, photos, and his famous books.
1998
Experiencias ’68 was one of the most relevant shows ever in the history of the Proa Foundation. In May of 1968 a group of artists devised this exhibition in the mythic Instituto Di Tella. The military government’s censorship of some of the works drew spontaneous support from the rest of the artists, who decided to destroy all the works. Thirty years later, this reconstruction came about, with the aim of commemorating May ’68 and with it one of the most paradigmatic shows in our cultural scene.
Thanks to the curatorship and research of Patricia Rizzo and the support of the artists, the works first on exhibit could be reconstructed with their original materials and elements. The show generated extensive discussion about its historical moment, the concept of reconstruction, and a retrospective look at one of the century’s most significant moments for the participation of the young.
Together with the works displayed, a vast photographic documentation was provided from the archive of artist Oscar Bony.
1998
The exhibition Italian Arts and Architecture in Argentina presented the contributions made by Italian immigrants, who created many of the artistic expressions and institutions of our country: schools of fine arts, theatres, buildings such as the Teatro Colón and the Congress, or the first photographs of travel and exploration.
This historic contribution, recreated from the period itself, put into dialogue constellations of images that founded and forged the very traces of our culture. A group of prominent curators and investigators represented the various disciplines, contextualizing and giving coherence to this particular moment in history.
1997
The exhibition Work and Art, mounted in collaboration with the Academia Carrara of Bergamo (Italy), offered a survey of the entire oeuvre of the remarkable artist Mario Sironi, through his preparatory sketches of murals, drawings, paintings, graphic works, and his sketches for opera and theatre.
This exhibition offered a panorama of the work of this artist committed to the social contents of art, and allowed the public to contemplate his production centered in the first half of the century in the north of Italy. This body of work reveals the dreams, illusions, and failings too of one of the most distinguished exponents of first historical avant-gardes.
1997
The exhibition Julio Galán, jointly organized with the Galería Ramis Barquet, presented a group of works from 1983 to 1997. Taking up the loftiest tradition in Mexican painting, Julio Galán offers a pictorial universe in which representation, play, and the magical are all present –as well as his remarkable constructions with his own image: playing, cross-dressed as a girl or woman.
Galán’s painting recreates various worlds: on the one hand, it recaptures Mexico’s traditions, its history, its popular art, its brilliant, meaning-laden colors; on the other hand, the artist’s own universe: his fears, his sexuality, his myths and deepest desires. The show takes up these themes presented from a contemporary perspective, with irony and humor.
1997
The exhibition Andrés Serrano - Fotografías was the first presentation of this prominent artist in our country. The selection of works was made in a wide-ranging retrospective of Serrano’s world. Out of this whole could be gleaned his ideas and views on religion, sex, death, and the myths of power masked by its uniforms and symbols. The works on display ranged from 1983 to the series “The Morgue,” from 1992.
Serrano uses photography to present a world teeming with contradictions: “Not with conflicts, but rather with dichotomies.” A panorama cohabited by symbols and archetypes, fetishes of beauty and horror, personifications of power, life and death.
1997
The showing of Rómulo Macció’s Paintings of Contamination and Forgetting presented a series of landscapes directly relating to the La Boca neighborhood and the la Plata river.
The landscape, a traditional theme in painting, is retrieved from the play of memory and composed in a mirror in which we take another look at our history. The forgotten, polluted river is a part of this expressive universe.
Macció is an artist who travels over art history, the roots of our immigration, the myths that we have inherited and constructed. Each of his paintings evokes modes of painting we already know, a universe of ideas and images that anarchically coexist and can be united by the artist’s figurative narrative.
1997
Between March and April of 1997, the sculptures of Sesostris Vitullo –a legacy of the Art Collection of the Universidad Torcuato Di Tella– were presented for the first time to the public of our country, after a stay of more than forty years in France.
Vitullo, one of the most significant artists in modern art, has made his works a search for tradition through forms of expression with high symbolic content. The ensemble of works that made up this exhibition presented various media and themes.
1996
The inaugural exhibition of the Proa Foundation’s site in the La Boca district was a splendid historical survey of the great Mexican artist Rufino Tamayo.
This impressive show brought together distinguished artists, a huge public, and leading officials from both Mexico and Argentina.