We’ve re-opened our doors and are waiting for you with lots of new art and activities!


Serie: Grandes donaciones

En este nuevo ciclo, el equipo de curaduría del Museo Moderno presenta las
donaciones de artistas y coleccionistas que constituyen los pilares del patrimonio.
Este viernes encontrá el primer capítulo sobre la donación de Alberto Heredia
presentada por Javier Villa

En este primer capítulo, Javier Villa aborda el legado de Alberto Heredia, quien donó
al Museo Moderno no solo su producción de casi 700 obras, sino también su colección
privada de obras de otros artistas, su archivo y su departamento en Av. Caseros,
futuro espacio de residencias y estudio para artistas e investigadores. Un fondo
patrimonial tan completo como el de Heredia no solo permite revisar constantemente la
práctica del artista, sino la historia cultural y social de nuestro país y actualizar la
potencia de sus obras mediante lecturas contemporáneas. El de Heredia es un caso

paradigmático para pensar las prácticas artísticas actuales en relación a la figuración
del cuerpo, la sexualidad, lo monstruoso y abyecto, la violencia, el interespecismo y la
transformación. Alberto Heredia (Buenos Aires, 1924-2000) ingresó a los 21 años a la
Escuela Nacional de Cerámica, donde estudió durante un breve período. La formación
académica no era lo suyo, por lo que la interrumpió hasta que, en 1952, comenzó a
frecuentar el taller de Enio Iommi: en él no solo encuentra un maestro sino un amigo.
En 1960 viaja a París, donde comienza a realizar la serie “Cajas de Camembert”,
expuesta a su regreso en 1963 en la Galería Lirolay de Buenos Aires. A fines de la
década, crea sus series “Las torres y los castillos” (1966) y “Cajas objetos”. En el
contexto de violencia que se vivía en la Argentina en los años setenta empieza a trabajar
en las siguientes series: “Engendros” (1972), “De las lenguas y otras cosas más” (1974),
“Amordazamientos”, “Embalajes”, “Los ángeles apocalípticos”, “Sexos”, “Roperos” (1977)
y “Ricky y el pájaro”. En 1998, bajo la dirección de Laura Buccellato, se concibe la
donación al museo.

Diana Aisenberg
Mystical Robotics in the Crystal Economy

For the re-opening of the Museo Moderno, Diana made two works specially conceived
for the museum’s circulation areas. Zaguán y besos [Passage and Kisses] is a large
installation that begins at the ground floor entrance. Something similar to a portal greets
visitors to create a physical frontier between the interior and exterior of the museum.
The passage filters the light from the patio and transforms it into warm colours


accompanied by the rustling of the strings as they are moved by currents of air: a keen
vibration that strikes a bodily chord. The second piece, Totema [Female-Totem], on the
first floor of the museum, is a four-eyed entity: a monumental presence that rises up
between the different galleries. A lavishly dressed deity, it broadcasts waves of living

Day of action
Verónica Meloni

Having been invited by the Museo Moderno to develop a performance piece specifically
for the reopening of the museum, Verónica Meloni proposed highlighting the importance
of care work in the public space, as she relies on the transformative nature of acts.
Together with the museum’s cleaning staff, she performs an action that emphasizes the
silent experience of their tasks. The improvised community assembles ephemeral
snippets of text as it sweeps up vegetable cuttings; an emotional choreography
accompanied only by the sound of brooms brushing against the asphalt of Av. San Juan,
in front of the museum. The artwork is part of a series Meloni has been working on for
the past two years, in which she identifies the act of sweeping as a force that is both
personal and collective, poetic and political. A sequence that began with solitary acts of
writing made with a straw broom in the earth that led to group collaborations that seek
to honour community bonds, trades and connections.

Participants: Verónica Meloni, Laura Pretti y su mamá Liliana Rodríguez, Roxana Ojeda
y su hijo Lucas López, Johanna Cardozo, Maximiliano Alonso y su novia Florencia
Rodriguez, y Mónica Prigioni y sus hijas Rocío, Sofía y Morena Prigioni.

Nicanor Aráoz: Solid Dream
Guided tour
I Return Like a Garden After Winter

Santiago Iturralde:  Naked Painting
Virtual Guided Tour


Energy Sovereignty
Jorge Bayón

Jorge Bayon



We’re not entirely sure whether the Gran estación de servicio (Large Service Station)
painted by Bayón Edward Hopper style, was a YPF, but we can certainly imagine
energy sovereignty being handed over to foreign interests yet again in 1982, the year
when the work was made. If we had to name one figure who defended the national
sovereignty it would be Enrique Mosconi (1877-1940), who had a degree in civil
engineering from the Universidad de Buenos Aires and military engineering from the
Technical Academy of Prussia, who promoted and organized expeditions to explore
the oil reserves of Argentina and was Director General of Yacimientos Petrolíferos
Fiscales from 1922 until the military coup of 1930. Mosconi believed that sovereignty
and nationality were built on the work of citizens, the primary defenders of Argentina’s
heritage and natural resources. In his 1929 book El petróleo argentino y la ruptura de
los trusts petrolíferos inglés y norteamericano, he laid out his ideas regarding a ‘closed
door’ policy and state monopoly that would ‘end up with a struggle between the trusts
and YPF’.

Jorge Bayón, Gran estación de servicio [Large Service Station], 1982, óleo sobre aglomerado, 59 x 82 cm.
National Sovereignty
Marta Minujín

Regarding the Malvinas, and South Georgia and Sandwich Islands,
and Maritime and Inland Spaces
The War of the Malvinas

In 1982, Marta Minujín carried out an anthropophagic performance project, Margaret
Thatcher de Corned Beef
[Corned Beef Margaret Thatcher]. It was a representation
of the British Prime Minister, known as the ‘Iron Lady’, made in a 17 metre high iron
structure. The sculpture was finished with a skin of dozens of tins of corned beef with
cotton stuffing that would be burned after the meat was handed out to the public.

In 1982, Argentina was governed by a dictatorship led by Lieutenant General Leopoldo
Fortunato Galtieri. Days before the Argentinian armed forces landed in the Malvinas,
on 2 April, the workers movement had organized a march on the Plaza de Mayo
featuring fifty thousand people chanting the slogan ‘Peace, Bread and Work’, as well as
insults against the dictator. The patriotic appeal to recover the islands, which had been
illegally occupied by the United Kingdom since 1833, was a clear strategy to distract
from popular protests. Argentina continues to affirm its sovereignty in accordance with
international law and the recovery of the islands remains a non-negotiable objective.

Marta Minujín, Margaret Thatcher de Corned Beef (proyecto) [Corned Beef Margaret Thatcher (Project)],
1982, ink on paper, 100 x 69 cm. Donated by the Asociación Argentina de Críticos de Arte, 1988

Marta Minujín

Sovereignty of Latin American Art
Ricardo Carpani



Ricardo Carpani developed an iconography that made the worker the protagonist. He
was a member of the Movimiento Espartaco and subsequently worked with unions,
making political murals, graphic designs and posters and organizing workers workshops
and publications. He was also a prolific writer and played an active role in national
left-wing and revolutionary Peronist movements.

One of his main interests was the debate surrounding the opposition between
sovereign, popular Latin American art and a dependency on former colonial powers.
Carpani said: ‘Why, when the masses struggle every day against colonial politics in our
national culture, should they not be in charge of choosing the imagery of that culture?
Why should that task be exclusively assigned to specialists (artists) trained in isolation
of that process at colonial academies and circles formed by the very system that the
masses are struggling to bring down and overcome?’

Ricardo Carpani, Arte y militancia, Buenos Aires, Ediciones Continente/ Peña Lillo,
2010, p. 82.

Ricardo Carpani (1930-1997), Manifestación [Demonstration], undated, copper plate etching,
40.5 x 49.5 cm. Edition 14 of 75

Mildred Burton: National Fauna

Mildred Burton claimed that her father could fly from the roof of the house with hens
under his arms, that her son swam with crocodiles, that she’d crashed into a gigantic
animal in the middle of Buenos Aires and that her grandmother had strangled her cat
when she was a child. Regardless of the truth or otherwise of these stories, the life and
work of Mildred Burton was always filled with unsettling animals. Whether they were
crouched behind the human form, living with people in harmony, or were lurking
threateningly inside of us, Burton’s works raise a debate on culture and nature that
continues to concern us today. Burton’s mutant images undermine the division between
humans and other animals. However, Mildred didn’t see these bonds as wholly benign
or peaceful. To the contrary, her powerful images contain different measures of irony,
cruelty and fantasy and the combination resulted in a reading of the country in which
she lived.

Libro online

                                        Consejo de los niños
Mosaico de la infancia

En el Consejo de los niños y las niñas del Moderno nos reunimos a pensar y compartir
los deseos y necesidades de las infancias. En nuestros encuentros anteriores trabajamos
a partir de las siguientes preguntas: ¿Con qué objeto darías la vuelta al mundo y por qué?
¿Cuál es tu espacio favorito y a cuál no volverías? ¿Qué tipo de museo te gustaría

En esta oportunidad te invitamos a que respondas en una hoja de tu color favorito: ¿Qué
consejo les darías a los adultos para mejorar el presente y el porvenir? Podés pensar en
aquello que te gustaría transformar en tu barrio, en tu escuela o en tu ciudad. Si te animás,
también podés grabar un breve video.

Subilo a tus redes con tu nombre y edad: vamos a crear un “Mosaico de la infancia” y, con
el aporte de cada uno, vamos a componer la voz de los niños y las niñas del Moderno.
¡No olvides arrobar al museo! Si querés ser parte de El Consejo de niños y niñas del
Moderno, inscribite en

Obra: Marta Minujin, Imaginando Estupor, 2003, venecitas pegadas sobre vidrio con marco de hierro,
210 x 110 x 7 cm. Donación de la Asociación Amigos del Museo de Arte Moderno, 2009