“What hurts is the shoes and the people,” Minujín explained when we met recently. She’s concerned about people tracking in dirt or refusing to experience the art solo. “Some people say, ‘no, I have a friend; I don’t want to go alone; I am claustrophobic; I want to be with my husband,’” Minujín mimicked. “It’s much better to allow at least one minute to be alone.”
Surprisingly, she considers phones a positive addition to the installation. Taking pictures gives viewers another opportunity to participate in the artist’s vision. Curator Massimiliano Gioni noted that he and co-curator Helga Christoffersen were particularly interested in how La Menesunda has “long anticipated ideas about participation and alienation through the media, which now seem common currency.”
Born in 1943 in Buenos Aires, Minujín established herself as a bold, independent artist as a teenager. At 16 years old, she secretly married economist Juan Carlos Gómez Sabaini. She falsified records to indicate that she was 18, so the state would grant her a marriage license. “I was always breaking rules in my own life,” Minujín said. The couple are still together today, yet Minujín’s primary motive was hardly romantic or traditional. The legal union allowed her to travel internationally on her own. Minujín embarked to Paris, where she integrated into the burgeoning art scene. She had no running water or heat, just the desire for a creative career.