Avant-Garde Argentinian Visual Artists Group, Tucumán Burns (1968)
Tucumán Arde (hereafter referred to by its English translation, Tucumán Burns), nearly half a century after its opening in 1968, still remains largely unclassifiable. Part information campaign, part research endeavor, part political action, part counter-information exhibition, part collective art ha...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Argentina |
| Institución: | Consejo Nacional de Investigaciones Científicas y Técnicas |
| Repositorio: | CONICET Digital (CONICET) |
| Idioma: | inglés |
| OAI Identifier: | oai:ri.conicet.gov.ar:11336/35390 |
| Acceso en línea: | http://hdl.handle.net/11336/35390 |
| Access Level: | acceso abierto |
| Palabra clave: | Vanguardia Arte y Política Argentina Años Sesenta https://purl.org/becyt/ford/6.4 https://purl.org/becyt/ford/6 |
| Sumario: | Tucumán Arde (hereafter referred to by its English translation, Tucumán Burns), nearly half a century after its opening in 1968, still remains largely unclassifiable. Part information campaign, part research endeavor, part political action, part counter-information exhibition, part collective art happening, part mythical legend, and part abysmal failure, it sought to have a direct impact on the revolutionary process then regarded as imminent by its artist-participants. More has been written about Tucumán Burns than about any other Argentine art event, and it continues to have a surprising capacity to be appropriated by very different arguments, positions, and genealogies, many of which seem to separate themselves from and even contradict the organizers’ original and radical intentions. |
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