Argentinian art
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Browse collection ›"Eugenio Cuttica. The inner look" follows the path of Eugenio Cuttica production, from the works of the 70s to the latest. The exhibition is structured into three clusters: "The beginnings", "The Scream" and "Silence", where the pictorial production and a series of installations and objects are displayed in the space of the room.
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His early works, presented in "The Beginning", are exhibited in dialogue with their teachers: Alfredo Martínez Howard and Carlos Alonso. A work of Fernando Fader, selected by the artist, is included as one of the paintings belonging to the patrimony of the MNBA that most influenced Cuttica's artistic development.
Cuttica was a leading protagonist of what was called "the return of the painting" during the 80s, a trend that had a global expansion by acquiring different names like "Post-vanguard" in Italy or "Wild Paint" in Germany. In Argentina this movement had numerous followers who took these ideas back to painting as a possibility and a tool to explore the problems of contemporary art.
Many theorists and art critics analyzed these cyclical concepts of "returns" in artistic productions as one of the keys to understanding the tensions existing within the artistic field. These statements mark a major axis of this exhibition. Cuttica paintings make visible a wide range of conceptual and technical possibilities. They question us about the persistence of this discipline that dialogues with its own history and its relevance in the construction of meaning. In the second part of the exhibition - "The Scream" - a series of paintings spanning the decades of the 80s and 90s are presented. The artist built a very personal image, which focused in the epochal and mythical Argentine realities.
In "Silence", Cuttica presents his recent year paintings that focus on the landscape understood as a space of silence. While the representation of the human figure runs throughout the production of the artist, in these great scenes, it's almost spooky. The figure of a girl dissolves into a landscape of vast horizons that mark the boundary between heaven and earth. Paradoxically the earth plane is a celebration of man's dominion over nature. Its entire surface is occupied by crops of flowers or cereals that shape successive horizontal bands. Another genre that stars in this core is the portrait. In this sense, the artist develops a series that records the various individuals who are part of their environment. Most of them are urban characters of Buenos Aires and New York, the two largest cities in which he lives.
His early paintings and drawings, as well as the most recents, are an insight of painting as a language, which explores its constituent elements and covers different genres.
The exhibition, curated by Pablo De Monte, also presents paintings and installations made especially for the occasion. The catalog accompanying the exhibition has the support of Rodrigo Alonso, Julio Sapollnik and Mariela Cantú, and contains essays written by the Research Area of the Museum: Pablo De Monte, María Florencia Galesio, Patricia V. Corsani, Paola Melgarejo, Silvana Varela and Ana Ines Giese.
The exhibition is supported by the Asociation of Friends of the MNBA.
Cuttica was a leading protagonist of what was called "the return of the painting" during the 80s, a trend that had a global expansion by acquiring different names like "Post-vanguard" in Italy or "Wild Paint" in Germany. In Argentina this movement had numerous followers who took these ideas back to painting as a possibility and a tool to explore the problems of contemporary art.
Many theorists and art critics analyzed these cyclical concepts of "returns" in artistic productions as one of the keys to understanding the tensions existing within the artistic field. These statements mark a major axis of this exhibition. Cuttica paintings make visible a wide range of conceptual and technical possibilities. They question us about the persistence of this discipline that dialogues with its own history and its relevance in the construction of meaning. In the second part of the exhibition - "The Scream" - a series of paintings spanning the decades of the 80s and 90s are presented. The artist built a very personal image, which focused in the epochal and mythical Argentine realities.
In "Silence", Cuttica presents his recent year paintings that focus on the landscape understood as a space of silence. While the representation of the human figure runs throughout the production of the artist, in these great scenes, it's almost spooky. The figure of a girl dissolves into a landscape of vast horizons that mark the boundary between heaven and earth. Paradoxically the earth plane is a celebration of man's dominion over nature. Its entire surface is occupied by crops of flowers or cereals that shape successive horizontal bands. Another genre that stars in this core is the portrait. In this sense, the artist develops a series that records the various individuals who are part of their environment. Most of them are urban characters of Buenos Aires and New York, the two largest cities in which he lives.
His early paintings and drawings, as well as the most recents, are an insight of painting as a language, which explores its constituent elements and covers different genres.
The exhibition, curated by Pablo De Monte, also presents paintings and installations made especially for the occasion. The catalog accompanying the exhibition has the support of Rodrigo Alonso, Julio Sapollnik and Mariela Cantú, and contains essays written by the Research Area of the Museum: Pablo De Monte, María Florencia Galesio, Patricia V. Corsani, Paola Melgarejo, Silvana Varela and Ana Ines Giese.
The exhibition is supported by the Asociation of Friends of the MNBA.