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Alexander Apostol. Salida de los obreros al museo. Taller y República a partir de Tucumán arde. MALBA

Alexander Apóstol's Exhibition at MALBA Ends in a Month


Buenos Aires, Argentina

In the exhibition project titled "Workers Leaving the Museum. Workshop and Republic Based on Tucumán Arde," specially developed for the Museo de Arte Latinoamericano de Buenos Aires (MALBA) and coproduced by Bienasur, Venezuelan artist Alexander Apóstol (Barquisimeto, 1969) proposes an open and collective discussion about the relationship between art and politics based on a reinterpretation of the manifesto "Tucumán Arde:" Is today possible to propose a discussion based on production and dissemination strategies similar to those from that moment? The exhibition will remain open to the public until February 19.

"Art and politics in Latin American historically represented two interdependent variables. The most prominent artistic movements from the region contributed to the development of new ways of conceiving political discussion and facilitating its insertion into the social mechanism. Among these, "Tucumán Arte" (1968) is regarded as one of the most important aesthetic-political actions created in our medium," explain curators Agustín Pérez-Rubio and Diana Wechsler.

Apóstol deconstructs the manifest through a mathematical breakdown and turns its structure into numeric codes using the Graph Theorem, heir to historic mathematical problems—which favor result oriented routes or processes—closely connected to geometric disciplines that propose a change in the way that objects are perceived, defying them according to their properties and not by their forms.

Just like he did in 2015, when he worked with four manifestos by Mexican painter and muralist David Alfaro Siqueiros for the exhibition titled "Geometry, Action and Souvenirs of the Insurgent Discourse," presented at the Sala de Arte Público Siqueiros in Mexico City, Alexander Apóstol transposes the linguistic structure and politics included in the text "Tucumán Arde" using a mathematical theorem that allows for a basic "scientific" structure, an "illusively absolute numeric base," with which to work in the present.

In this manner, Apóstol incorporates a series of variables based on the biographic data—age, socioeconomic level, educational level, political affiliation, etc.—of the original participants in "Tucumán Arde" and of the works there presented—number of pieces exhibited, published, destroyed, created on paper or objects, presented in Rosario or Buenos Aires, etc.—which are used as igniters when working with the student and professional groups at the Universidad Tres de Febrero (UNTREF) and MALBA.

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