A view from Buenos Aires Systems and Communication

Hans Haacke, Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971  1971

Many of Haacke’s works reveal hidden political and economic links between corporations and institutions. He wanted to show how corruption and injustices were rooted in larger social systems. This work includes a map of Manhattan. It features the locations of properties owned by a powerful real estate firm that had been involved in violent crimes and unethical practices. Haacke wanted to expose the true extent of the firm’s power in the New York property market and the fraud and exploitation at its core. Haacke was included in the groundbreaking Systems Art exhibition organised by the CAyC in Buenos Aires in 1971.

Gallery label, December 2020

Dóra Maurer, Displacements (System Drawing)  1972

Displacement (System Drawing) 1972 is a geometric drawing in coloured ink on paper measuring seventy centimetres by fifty centimetres. A large rectangular grid has been drawn, with ten vertical columns and ten horizontal rows, creating one hundred individual rectangles. This grid has been further subdivided into four sections, each measuring five columns by five rows, with each section differentiated by diagonal coloured lines that bisect each individual rectangle. The diagonal lines in the top left section are red, in the top right grid reddish-brown, in the bottom left segment yellow and in the bottom right area orange. A central rectangular area, measuring six columns by six rows, is further demarcated with additional diagonal lines in colours including green, turquoise and violet, which overlap at points with the four larger diagonal sections, creating a denser area of colour in the central section of the drawing. The work is one of several ‘displacements’ pieces that the artist made in the 1970s. A similar grid arrangement with some of the sections split by diagonal lines can be seen in the later painting Displacements, Step 18 with Two Random-Quasi-Images 1976, also in Tate’s collection (Tate T15451).

Luis Fernando Benedit, Grupo de Arte y Cibernética Buenos Aires, Untitled  c.1969

This is one of a group of prints in Tate’s collection related to the Grupo de Arte y Cibernética Buenos Aires, a pioneering movement in the history of computer-based art in Latin America (see Tate P15467, P15468, P15469, P15470, P15471, P15472). Founded in 1969 with the encouragement of Jorge Glusberg, Director of the influential Buenos Aires art space CAyC (Centro de Arte y Comunicación), the Grupo de Arte y Cibernética Buenos Aires brought together programmers, engineers, system analysts and artists to produce art using computer technologies. The group developed after Glusberg made contact with the Japanese artist collective CTG (Computer Technique Group) and worked with IBM and local university computer scientists to gain access for Argentina’s leading artists to produce work with new computing technology. Tate’s collection includes screenprints associated with the Grupo de Arte y Cibernética Buenos Aires by Argentinean artists Miguel Angel Vidal, Luis Fernando Benedit, Ernesto Deira and Rogelio Polesello, who all explored the medium to generate depth, gesture and form. Produced when each of these artists had already developed their mature approaches to art, the screenprints also indicate the artists’ attempts to translate their specific thematic and formal concerns across to computer-based work.

Ernesto Deira, Grupo de Arte y Cibernética Buenos Aires, Untitled  c.1969

This is one of a group of prints in Tate’s collection related to the Grupo de Arte y Cibernética Buenos Aires, a pioneering movement in the history of computer-based art in Latin America (see Tate P15467, P15468, P15469, P15470, P15471, P15472). Founded in 1969 with the encouragement of Jorge Glusberg, Director of the influential Buenos Aires art space CAyC (Centro de Arte y Comunicación), the Grupo de Arte y Cibernética Buenos Aires brought together programmers, engineers, system analysts and artists to produce art using computer technologies. The group developed after Glusberg made contact with the Japanese artist collective CTG (Computer Technique Group) and worked with IBM and local university computer scientists to gain access for Argentina’s leading artists to produce work with new computing technology. Tate’s collection includes screenprints associated with the Grupo de Arte y Cibernética Buenos Aires by Argentinean artists Miguel Angel Vidal, Luis Fernando Benedit, Ernesto Deira and Rogelio Polesello, who all explored the medium to generate depth, gesture and form. Produced when each of these artists had already developed their mature approaches to art, the screenprints also indicate the artists’ attempts to translate their specific thematic and formal concerns across to computer-based work.

Rogelio Polesello, Grupo de Arte y Cibernética Buenos Aires, Untitled  1970

This is one of a group of prints in Tate’s collection related to the Grupo de Arte y Cibernética Buenos Aires, a pioneering movement in the history of computer-based art in Latin America (see Tate see Tate P15467, P15468, P15469, P15470, P15471, P15472). Founded in 1969 with the encouragement of Jorge Glusberg, Director of the influential Buenos Aires art space CAyC (Centro de Arte y Comunicación), the Grupo de Arte y Cibernética Buenos Aires brought together programmers, engineers, system analysts and artists to produce art using computer technologies. The group developed after Glusberg made contact with the Japanese artist collective CTG (Computer Technique Group) and worked with IBM and local university computer scientists to gain access for Argentina’s leading artists to produce work with new computing technology. Tate’s collection includes screenprints associated with the Grupo de Arte y Cibernética Buenos Aires by Argentinean artists Miguel Angel Vidal, Luis Fernando Benedit, Ernesto Deira and Rogelio Polesello, who all explored the medium to generate depth, gesture and form. Produced when each of these artists had already developed their mature approaches to art, the screenprints also indicate the artists’ attempts to translate their specific thematic and formal concerns across to computer-based work.

Dóra Maurer, Seven Twists I-VI  1979, printed 2011

Seven Twists I–VI 1979/2011 is a self-portrait of the artist comprising six framed black and white photographs on paper, laid out in a single row. The first photograph shows Maurer holding up a square sheet of blank paper that mostly covers her face, with only her right eye and hairline visible. Each subsequent photograph presents the artist holding up the previous photograph in the same manner but rotated by forty-five degrees anti-clockwise. In each photograph her actual face is angled alternately more or less towards the camera, with a little more of her face being revealed each time. The work was reprinted in 2011 for Maurer’s participation in the Istanbul Biennial that year. It was printed in an edition of five, of which Tate copy is the fifth. While the original vintage prints had the dimensions 230 x 230 mm, the size of the reprinted edition is smaller at 205 x 205 mm.

Victor Grippo, Energy of a Potato (or Untitled or Energy)  1972

Energy of a Potato (or Untitled or Energy) is a work by the Argentinian artist Víctor Grippo. It consists of a simple electrical circuit in which an analogue multimeter is connected to a potato by two wires. Because the electrodes on the end of the wires are of different metals – one copper, the other zinc-galvanised iron – the circuit allows the potato to act as a simple battery. The battery works through the reciprocally balanced processes of oxidation and reduction occurring at the electrodes: the acidic juices of the potato oxidise the zinc, producing electrons that pass through the wires and multimeter to the copper electrode, where they reduce hydrogen ions to form hydrogen. Because the zinc slowly dissolves as a result of this process, the electrode needs to be renewed periodically. Similarly, the potato perishes and when the work is exhibited it is usually replaced weekly. When exhibited the multimeter is usually set to display voltage (V), rather than current (mA).

Horacio Zabala, The distortions are proportional to the tensions I, II & III  1974

These three drawings depict the map of the southern cone of South America. They form part of a series in which Zabala intervenes in the geography of the continent by distorting the location of Argentina, particularly around the Rio de la Plata, the widest river in the world which flows between Uruguay and Argentina. This area became notorious as a site of atrocities during Argentina’s dirty war, during which thousands of people were ‘disappeared’ by the military dictatorship.

Gallery label, February 2016

Christo (Christo Javacheff), Valley Curtain (Project for Colorado) Rifle, Grand Hogback  1971

In 1970 Christo and Jeanne-Claude, partners both in art and life, started planning the installation of a vast orange fabric curtain across a valley in Colorado, USA. The project required collaborating with a network of local authorities, engineers, sponsors and assistants. This work is one of many drawing-collages Christo made in order to have its design approved and funded. Some of these sketches were included in the Systems Art exhibition organised by the CAyC in Buenos Aires in 1971. After a failed attempt, Christo and Jeanne-Claude successfully installed the curtain on 19 August 1972. It remained in position for 28 hours, until it had to be removed due to strong winds.

Gallery label, March 2022