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buildings of the
Conferderacion General de Trabajadores de Los Argentinos (CGT, General Workers Confederation of the Argentines). Forty people contributed to the creation of the show. All the documented material from the trip was used in a montage of audio-visual media, including oral information to the public on the part of the artists, intellectuals and specialists who participated in the investigation. The exhibits included collected interviews with the people about living conditions in Tucuman, mural photographs, and research about the accumulation of wealth by the richer families. Walking into the exhibit the public stepped on the names of the owners of the sugar plantations. Additionally, the rooms were darkened every ten minutes to represent the frequency of deaths of children. Each time the facts were explained through loudspeakers in every room. The exhibition lasted two weeks in Rosario, but the similar exhibition in Buenos Aires was closed after two days. Police pressure on the unions became so strong that the CGT caved in rather than risk larger repercussions. The artists described the project as the pursuit of a cultural profile of the province. Using that they deceived the media and received favorable coverage for their project.
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Tucumán Arde was designed to affect the exploited people, who were supposed to become coauthors a change the course of the story, its main impact was on the elite which included artists who defined themselves as part of Avant-Garde. Due to this, one can say that Latin
American conceptualism emerged as an aesthetic more concerned with reality than with abstraction.
87:, the head of the dictatorship chose the province as a place to represent the stability of his governmental policies. The government publicized a fictional industrialization plan and promoted the slogan “Tucuman, the Garden of the Republic” accompanied by paradisal posters of the province. It was an orchestrated cover-up of the economic and political crisis.
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organized the “First
National Meeting of Avant-Garde Art” to generate a form of art that would be completely new: ethically, aesthetically, and ideologically. With the help of sociologists, economists, journalists, and photographers, the group decided to start an operation of “counter-information” to
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an impoverished province was one of the biggest sugar-producing regions in the country. The government had just closed the sugar refineries causing economic and social distress. The government had tried to use the region as an example of the soundness of its economic policy, calling it the "garden of
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Tucumán Arde was fundamentally a political project because artists were responding to the reality of repression and awareness of socioeconomic inequality. These conditions triggered the intervention of art into politics. Even artists originally distant from social issues became politicized. Although
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The denunciation-exhibition was held to reveal the profound contradictions caused by the economic-political system based on hunger and unemployment and the creation of a false cultural superstructure. It was held in both
Rosario and central Buenos Aires. In Rosario, the exhibition took place in the
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The fourth and last stage consisted of the closing of the information circuit on the Tucumán problem and comprised gathering and analysis of the documentation; publication of the results of the analysis; publication of bibliographic and audio-visual materials; and founding of a new aesthetic and
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Tucumán Arde was both a success and a failure. Despite the short duration of the events set an example for what the manifesto handed at the entrance of the exhibition called for, “an art that modifies the totality of the social structure; an art that transforms, one that destroys the idealist
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The artists gathered information—including statistics and firsthand accounts—on the Tucumán problem and the social reality of the province. This stage was completed with a prior fact-finding trip, to mark the essential aspects of the problem and establish the first connections.
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After Tucumán Arde , police and army repression increased and most of the artists who had been involved in the project stopped producing art for several years. Some went underground and joined the guerilla movement, some were “disappeared” and at least one of them died,
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counteract the government’s publicity about Tucumán and to reveal the real condition of the province. The artists aimed to become publicists and activists in the social struggle in
Tucuman. This project came to be Tucumán Arde (Tucumán is Burning).
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This stage consisted of confrontation and verification of the Tucumán reality for which the artists traveled to Tucumán alongside a technical team of journalists, where interviews, reports, recordings were done to use them in the denunciation-exhibition.
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The artists' project unfolded in several phases, beginning with a research phase in which participants gathered information about the living and working conditions in the province. Then, the collective organized a series of exhibitions in three different
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came to be an example of governmental hypocrisy and negligence. Out of the twenty-three
Argentine provinces, it ranked sixth in production but sixteenth in literacy, fifteenth in infant mortality and thirteenth in school retention.
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witnessed an increase of rebellion by artists against the government. The brutal oppression of the military dictatorship and the limits enforced on the artists’ freedom of expression developed into a crisis.
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separation between artwork and reality.” However, the participants only focused on the event and not on the broader strategy that could have generated other events.
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Camnitzer, Luis. Conceptualism in Latin
American Art: Didactics of Liberation. Tucumán Arde- Politics in Art pg. 60-92. University of Texas Press, 2007.
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the republic" in its propaganda. The artists sought to circumvent censorship efforts to expose the actual poverty and starvation.
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It was the
Rosario artists who dealt with the repercussions of the work. There were only two artists from Buenos Aires,
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Bradley, Will, and
Charles Esche. Art and Social Change: A Critical Reader. Tucumán Arde pg. 161-163. Tate Pub., 2007.
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10.1093/acref/9780191792229.001.0001/acref-9780191792229-e-3113
227:"An Argentine Collective of Political Art, Re-examined"
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Material from the original exhibition was included in
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and credited to the Grupo de
Artistas de Vanguardia.
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Oxford: A Dictionary of Modern and Contemporary Art
332:Chilvers, Ian; Glaves-Smith, John (2015-09-17),
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338:A Dictionary of Modern and Contemporary Art
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119:In August 1968, artists from
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233:. Hyperallergic Media Inc
299:"Tucuman Arde, Archive"
225:Di Liscia, Valentina.
33:María Teresa Gramuglio
386:Protests in Argentina
85:Juan Carlos Onganía
29:Juan Carlos Onganía
180:evaluation.
90:Also during 1968,
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166:Third Stage
148:First Stage
375:Categories
361:2019-07-25
212:References
63:Background
303:Arte Util
92:Argentina
191:Analysis
110:Santa Fe
104:cities--
99:Overview
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