Henrique Faria is excited to present works by three conceptual Argentine artists from the 70s: Carlos Ginzburg , Jaime Davidovich and Osvaldo Romberg.
In 1972, Carlos Ginzburg embarked on a decade-long project titled the Voyages of Ginzburg. His voyages took him around the world –including such countries as Mexico, Malaysia, Indonesia, Thailand and Egypt– in an attempt to survey and document how the spread of information and communication systems were affecting globalization and tourism. Through his various inquiries into the qualities inherent or ascribed to a given place, and to the borders and norms that govern the inhabitants or visitors to these places, Ginzburg puts forward a meditation on how societal power structures can transform physical space and become an unseen “marker” that is nonetheless intensely felt.
Davidovich began his career as a painter, but shifted his practice to performance and then video, which allowed him to encompass spectator and space, and in turn, to feature them as integral parts of his work. His investigation of space and supports led him to start working directly with tape as an artistic material, creating textured surfaces by applying different kinds of tape to the planes of a given space. These investigations came to be known as Tape Projects and were developed into many site-specific works, including his installation at the Akron Art Institute in Ohio in 1972 and his participation in the Whitney Biennial the following year. The repetitive application of tape reveals the performative characteristic of these pieces. The spectator, as an active viewer, reconstructs the creative process in his/her mind while observing the work. Works on paper, such as Projects for White Walls (1970) depict the artist’s consideration of various plans for taped installations and allow for the viewer to mentally construct the work. Tape was considered not only a medium but also a form of obstruction. The collage Art on Tape/Tapes as Art (1974) depicts a column of three (now) vintage TV sets, whose screens have been partially obscured by bright green tape. The work draws attention to the communicative properties inherent in paper and television and how they are evolving as a result of advancing technologies.
In the early 1970s, Argentinean conceptual artist Osvaldo Romberg (1938) began using a grid to analyze the tone and saturation of various colors. His thorough taxonomies are vibrant, rainbow-like compositions whose optical effects exceed and deform the empirical structure of the grid with their uneven strokes of paint. Romberg’s deconstruction of both individual hues and those of famous historical paintings investigate the political and social conventions of looking and seeing. The works on paper from this period are infused with Romberg’s interest in art history, philosophy, linguistics, and informational systems. Osvaldo Romberg’s conceptual approaches to understanding color, geometry, their interactions and their permutations across various media. With works on paper, paintings, sculpture and a video, Romberg expands upon theories of color and form set forth by Johann Goethe, Kazimir Malevich and Josef Albers, among others, challenging their strict rationality and formal hierarchies to create a sense of fluidity and insert his own creative personality.