The common threads between art, fashion and identity
Delia Cancela and Pablo Mesejeán, Sin título [Untitled], 1971, lápiz y tinta sobre papel
[Pencil and ink on paper]. Colección del artista [Collection of the artist].
Delia Cancela (Buenos Aires, 1940) studied fine art and is a member of the Instituto Di Tella’s 60s
generation. In 1964 she began to work in collaboration with her partner Pablo Mesejeán (Buenos
Aires 1937 - Paris 1986), with whom she took part in numerous exhibitions in Argentina and
overseas. In 1969, they moved to New York and in 1970 to London (where they immediately earned
recognition from the European fashion world and began publishing works in prestigious publications
such as Vogue, Harper’s Bazaar and Queen). In the 80s, Delia went back to working on her own and
held exhibitions at the Centro de Arte y Comunicación in Buenos Aires and different galleries in Paris,
Europe and Asia. More recently, she took part in the exhibitions The World Goes Pop at the TATE
Modern (2015) and Radical Women: Latin American Art, 1960-1985 (2017) at the Hammer Museum in
Los Angeles. In 2018 she won a National Award for her Artistic Career and the Museo de Arte Moderno
held the retrospective exhibition Delia Cancela: Queen of Hearts (1962-2018). She lives in Buenos Aires
The relationship between how we dress, what we see and who we are has always
been of crucial importance to culture and society. The link between fashion and art
is a complex and productive one and today is very different to other periods in
western history. Clothing can offer somewhere for us to begin in our multifaceted
consideration of taste and identity. Over the next few weeks, we shall be introducing
several artists who help us to reflect on the vast universe of ties and cross-overs
between fashion and art: design, the body, uniform, costumes, fabrics, perceptions
and appropriations of techniques. Within these relationships – and their social
impact – we shall explore related notions of sustainability and functionality.
We will be sharing content available to all that identifies Argentine art from the 60s
linked to the Instituto Di Tella as an essential point of reference. Artists such as Dalila
Puzzovio, Delia Cancela and Eduardo Costa incorporated poetics and tools from the
worlds of design and fashion as well as the language of mass media and advertising
to express their avant garde visions and youth culture. They have featured in the
Museo’s programme in the past and formed part of a generation that made the artist
into a popfigure whose work included their behaviour and expressed tastes, fantasies,
ideals and aspirations. In collaboration with the Museo del Traje (Museum of Clothing)
we shall present a re-imagining of a work by the creator Mary Tapia, from Tucuman,
who presented Pachamama prêt-a-porter at the Di Tella in 1967, her ‘criollo glam’
fusing international fashion trends with traditional textiles from the north of Argentina.
Continuing with that theme we shall explore different textile traditions from across the
country which are today subject to interdisciplinary research studies seeking to recover
an ancestral technical and poetic heritage. We will thus present a wonderful project by
the Museo Móvil de la Randa de Tucumán, in which the value of a community
environment is emphasized as a space of identity and work as well as a venue in which
to forge new and contemporary meanings.
The relationship between art and fashion has also paved the way for the conception of
new bodies and non-traditional subjectivities. The shift here is as much about raising
visibility and celebrating diversity as transformation and fantasy. Artists make use of
traditions and materials linked to clothing to push back/do away with the limits of the
imagination as well as work by contemporary artists such as Chiachio & Giannone and
Ariadna Pastorini and the designers Jessica Trosman and Martín Churba.
And so through many different artists and researchers, to whom we are deeply grateful,
the Moderno examines the vast and complex relationship between art, fashion and
identity, presenting expressions ranging from the 60s to the present day, while also
researching ancestral textile traditions in order to conceive of new ways to experiment
with and imagine the social corpus.
Networks of memory
Silvia Barrios and Gloria Solange Paredes
and the researcher and fashion producer Gloria Solange Paredes. In this
conversation, the researchers talk about their work collecting, researching and
producing chaguar textiles. They also reflect on the symbolic universe of which these
textiles form a part, the threats it faces and the survival of the communities who keep
the tradition alive, passing it down from mother to daughter.
Intimate. Mary Tapia
An homage by the Museo de la Historia del Traje
This homage was organized by the Museo de la Historia del Traje (The Museum
f the History of Clothing) for #MuseoModernoEnCasa to celebrate this iconic designer.
Mary Tapia audaciously took Latin American roots to the catwalks of Europe in the
1970s while also raising their profile at home. Her collections feature ponchos,
bolsones, matacos, rastras, embroidered wool blankets, old aguayos, picotes, chaguas
and handmade textiles mixed with lace and crochet from Asia and Europe. She
created her own local, autonomous atemporal aesthetic, an exquisite melange based
around Latin textiles especially those made by indigenous families in the north
Martín Churba and Jessica Trosman
whose collections featured experimentation with design and the creation of textiles. In
2001, they held a show at the Museo de Arte Moderno on the invitation of the Asociación
de Amigos, as part of the ‘Art is in fashion’ cycle, which paid homage to the master
Kenneth Kemble. In 2002 they each went their own way. Almost twenty years later,
Trosman and Churba reunite in a conversation in which they reflect on and discuss their
relationship with the visual arts.
Museo Móvil de la Randa
The Museo de Arte Moderno de Buenos Aires pays a visit to the Museo Móvil de
la Randa (Randa Mobile Museum), a nomadic project whose goal is to promote cultural
heritage of the textile art of the Randa in El Cercado, Tucumán. Its protagonists, the
Randeras, invite us on a guided tour of the project, sharing the history of the textile,
a type of crochet originally from Spain that has been passed down through the
generations from great-grandmothers to grandmothers, mothers, sisters, neighbours
Dalila Doble Plataforma
that won the 2nd Instituto Di Tella International Prize and became an iconic symbol of
the crossovers between art and fashion. In addition to featuring at the ITDT as a work
of art, the piece was also placed on display in the window of a famous shoe chain in
Buenos Aires. Throughout her career, Puzzovio has mixed artistic practice with design
without making any distinction between the two. Dalila has worked in fashion, designed
costumes for film and theatre, as a brand developer, as a graphic designer and even in
architecture and interior design. Together with Charlie Squirru, she formed one of the
most creative partnerships of the Di Tella’s 60s generation and her archive is mostly
held at the IDA Foundation.
Fashion and Ritual
Ariadna Pastorini began her career in the 90s with exhibitions at which she
presented strange soft sculptures – humanoid figures made in fabric – occupying
domestic spaces. Since then, her work has included an evolving fantasy about the
potential of the body, its limitations and power, through the playful and emotional
manipulation of textiles. In this video, Pastorini presents one of her latest pieces:
a performance she made at home during the quarantine in which she explores her
intense relationship with clothing and the body.
The full video of the performance can be seen at:
I Am a Tiger Costume
In 2019, as part of an exhibition by Cecilia Szalkowicz curated by Lara Marmor,
Ariel Authier and Bruno Dubner at the photography gallery of the Teatro San Martín,
the artist produced this runway show. I Am a Tiger Costume presented an original
exhibition format in which walls and display furniture were done away with in favour
of a theatre of objects, choreography, runway show and photography, thus updating
the historic relationship between art and fashion.
Chola cholita y Guaranita
Chiachio & Giannone
In 2019, Chiachio & Giannone were invited by their great friend Delia Cancela to
take part in a fashion show held at the Museo Moderno as part of the exhibition Delia
Cancela: Queen of Hearts. For it, they created two costumes: Chola Cholita and
Guaranita, which combined references to outfits worn by members of the Bolivian
community who had taken part in pride marches with an homage to modernist women
artists. Although Chiachio & Giannone have been working with textiles for over two
decades, it was the first time they’d ever created an outfit that would actually be worn.
During this conversation, the artists tell us about their working process for their pieces,
their references, how these outfits relate to the rest of their oeuvre and their commitment
to raising awareness of anti-normative subjectivities.
The Second Fashion Show Poetry Event
Since the mid-60s, Eduardo Costa has worked on projects in which the systems of
fashion and consumption are placed in conflict with the languages of poetry, fiction
and art. In 1969, in New York, he organized the first Fashion Show Poetry Event
together with Hannah Weiner and John Perreault, a show featuring outfits designed
by Andy Warhol, Claes Oldenburg, Marisol Escobar, James Lee Byers, and several
more. In 2014, as part of the retrospective exhibition held by the Museo de Arte
Moderno, Eduardo Costa organized a second Fashion Show Poetry Event. Costa
wrote a prose poem for each of the pieces designed by guest artists, who included
Diego Bianchi, Marcos Bonisson, Xil Buffone, Ariel Cusnir, Marina de Caro, Raúl
Escari, Gabriela Forcadell, Raimundas Malaŝauskas, Mónica Millán, Teresa Pereda,
John Perreault, Alfredo Prior, Mariela Scafati, Mandla Reuter, João Simões, Alexandre
Estrella and Clara Tomasini. Costa’s texts were read out by Jimena Ferreiro. The
result was a vague but liberating combination of a fashion show and a poetry recital
encouraging us to read what we wear in literary, emotional and fictional terms.
To Delia Cancela, art is a way of life, the medium through which she has constructed
her avant garde identity. Early on in her career, she pushed the boundaries of art,
design and fashion, integrating different materials and methods with great creative
zeal as she evoked her passions, fears and fantasies. In 1966, she and Pablo
Mesejeán presented the manifesto ‘Nosotros amamos’ [We Love], a list of things,
gestures and people they loved. They made this hedonistic, self-celebratory gesture
the framework for their practice in the tradition of modernist art manifestos. On this
occasion Delia has updated her manifesto and shares the thinking behind it.
A partir de hoy estará disponible online la publicación realizada por el Museo Moderno
en 2018 para acompañar la gran exposición retrospectiva Delia Cancela: Reina de
corazones 1962-2018. El libro reúne imágenes que registran la trayectoria de una de
las artistas argentinas referentes en el arte y el diseño del siglo XX. Incluye una completa
cronología, el texto curatorial de Carla Barbero, ensayos de autores invitados (Javier
Arroyuelo y Leticia Obeid) y una conversación entre la propia Delia Cancela
y Fernando García.
Challenge: create your own hairdo
The Department of Education invites you to create your own hairdo. Use whatever
medium you like best: collage, watercolour, pencils, markers, etc. and upload it to
your networks with the Museo hashtag so we can share it with everyone.
A tutorial for creating your own outfits and characters on Photoshop
Run by Endi Ruiz
We invite you to create your own fashion mannequin. The visual artist Endi Ruiz
reveals his creative process for creating digital characters. For children and adults.