The National Museum of Fine Arts today opens to the public the temporary exhibitions "The accidental canon. Women artists in Argentina (1890-1950)”, with unpublished works by creators marginalized in the history of art; "Infinite Ferrari", a selection of León Ferrari graphic pieces from the decades of 1970 Y 1980; and "Pandemic", the latest creation by Marta Minujín, performed during the period of isolation.

further, the first floor rooms of the Museum reopen, that house the permanent collection dedicated to Argentine and international artists of the 20th century. In this way, together with the rooms on the ground floor already enabled, the tour of the entire building is completed.

In the reduced opening ceremony for authorities and personalities of culture, the director of the Fine Arts, Andrés Duprat, He referred to "Pandemic" and said: “It is a wonderful and long-term work that Marta Minujín was doing in eleven months of this so strange that we have to live. For us, It is an honor that she wanted to present it in our Museum, and we exhibited it in the hall, a privileged place, so that even the people who pass by the sidewalk can see it ".

The artists Luis Felipe Noé, Diana Dowek and Graciela Taquini; the president of the Friends of the National Museum of Fine Arts Association, César Crivelli; the researchers Laura Malosetti Costa and Cecilia Rabossi; Minister of Culture of the City of Buenos Aires, Enrique Avogadro; the Undersecretary of Cultural Policies of the Province of Buenos Aires, Ezequiel Grimson; the ambassador of France, Claudia dug-SCHERER; on Italian par, Giuseppe Manzo; Donatella Canova, director of the Italian Culture Institute, as well as family and members of the Fundación Augusto y León Ferrari Arte y Acervo (FALFAA), were some of those present.

When taking the floor, Minujín commented: “I hope that everyone can see and enjoy a work that I could only have done in times of pandemic., because it was a year of isolation, and the only energy I could recover in that isolation was to do this work. So, I thought it was a play for everyone, because we all live the same. Those black and white dots symbolize all of us, and how the world changed ".

The Minister of Culture of the Nation, Tristan Bauer, he claimed: “It is an honor to have Marta Minujín here, let your work be here exposed. You told us about these hard times, of death, Of suffering, of the illness, and art has always been a reflection of those times. We are honored by your presence and that when you enter the Museum you are there, to be shared by everyone, this work so imposing and at the same time beautiful, what you have done in times of pandemic ".

In reference to the exhibition on Ferrari, curated by Carolina Jozami, Duprat specified that all the exhibited works were donated to the Fine Arts by the Fundación Augusto y León Ferrari Arte y Acervo (FALFAA). “León Ferrari had made an important donation to our Museum in 2004, and now the Foundation repeats the gesture, so we are very happy. How these works belong to all Argentines, It gives us great pleasure that the public can get to know them ".

Speaking of "The Accidental Canon", cured by Georgina Gluzman, the museum director said: "It is an extraordinary sample, product of rigorous research on the role of women artists at the end of the 19th century and into the middle of the 20th century, that looks with critical eyes at the history of Argentine art and the history of the Museum itself. Half of the exhibited works belong to our collection. Some have already been shown, but others will be seen for the first time, and that was the curator's job: bring to light artists and works that were ignored by an absolutely masculine look at art history ".

Meanwhile, Gluzman said that it is an exhibition that he began to dream about many years ago together with the artistic director of the Fine Arts, Mariana Marchesi, and the researcher Laura Malosetti Costa. "It presents a possible history of Argentine art, counted from the margins. Stories are always written from the present, our present demands differentiated and inclusive visions, that challenge certain dogmas, and the exhibition plays with it: Finally, what we accept as canonical could have been otherwise, it could have been an accident ", he explained.

In allusion to this exhibition on women artists, the Secretary of Heritage and Museums, Valeria Gonzalez, asserted: “The patriarchal structure of our heritage not only has to do with the small number of works by women, but more often than not these few works are subject to regimes of invisibility. Bringing this heritage to light is fundamental ".

About the closing of the act, Bauer expressed: "We have learned in a pandemic the fundamental role that art has for humanity. How important has it been, in these times of confinement, music, the poetry, the painting, the different disciplines. From the Ministry of Culture of the Nation we all know that throughout the world and in Argentina the pandemic has particularly hit the different cultural industries, but the investments that we have been developing we are going to sustain and put all our efforts to keep the flame of culture alight ".

The new temporary exhibitions

Curated by Georgina Gluzman, "The accidental canon" gathers in the rooms 37 a 40 more of 80 works carried out by 44 artists, with the intention of questioning the stories established in the history of art in our country and recovering the figure of these creators, many of them ignored or unknown.

Made up of works from the collection of Fine Arts, provincial and municipal museums and private collections, This sample - unpublished in the history of the Museum - allows you to appreciate paintings, drawings, engravings, photographs and sculptures by artists who, in some cases, will be exhibited for the first time.

The complete list of participating creators is made up of Graham Allardice de Witt, Carolina Alvarez Prado, Hermi Baglietto, Eugenia Belin Sarmiento, Hortensia Berdier, Emilia Bertolé, Paulina Blinder, Gertrudis Chale, Lia Correa Morales, Josefa Díaz and Clucellas, Ludmila Feodorovna, Raquel Forner, Consuelo Remedios González, Annemarie Heinrich, Maria de las Mercedes Lacoste, Mariette Lydis, Cecilia Marcovich, Léonie Matthis, Andrée Moch, Ana Maria Moncalvo, Eloísa Graciana Morás, Laura Mulhall Girondo, Maria Forced, Mary Catherine, Otero Lamas, Anita Payró, Hildara perez, Clelia Pissarro, Maria Carmen Portela, Sofia Posadas, Kettie Ross-Broglia, Hemilce Saforcada, Clorinda Sanna, Rosalía Soneira, Carlota Stein, Leonor Terry, Dora de la Torre, Aída Vaisman, Antonia Ventura and Verazzi, Angela Adela Vezzetti, Elba Villafañe, Mary washington, Ana Weiss, Julia Wernicke and Bibí Zogbé.

"Infinite Ferrari", while, It is presented within the framework of the activities that the Fine Arts carries out for the centenary of the birth of León Ferrari. Curated by Carolina Jozami, the exhibition presents productions from the decades of 70 Y 80, that account for the artist's experimentation with various graphic techniques, like lithography, xerography, etching and postcard art. All the works were donated to the Fine Arts collection by the Fundación Augusto y León Ferrari Arte y Acervo (FALFAA).

"Pandemic" is the production that Minujín undertook in May 2020. To do it, the artist applied thousands of strips with small blank squares, black and seven shades of gray on a fabric that exceeds two meters in height and width. The work is completed with the projection on the frame of an image of the same plot. As a complement and context, An audiovisual record is exhibited on the realization of the work and video content that Minujín shared on their social networks during the process.

The Museo Nacional de Bellas Artes, which depends on the Ministry of Culture of the Nation and has the support of Amigos del Bellas Artes, can be visited from Thursday to Sunday, of 12 a 19, free admission. To reserve appointments and know the current sanitary protocol, you have to enter http://www.bellasartes.gob.ar.