2016
Bilingual edition, Spanish/English
Text: Rafael Cippolini
Edición gráfica: Eduardo Rey
Graphic Design: Lucía Ladreche
Translations: Kit Maude
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320 pages
Format: 20 x 25 cm
ISBN 978-987-6732-80-2
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This book was published to document one of the inaugural exhibitions of the new
stage of the Museo de Arte Moderno, which began in 2014. Based on a substantial
number of works from the Moderno’s Collection, Lysergic Argentina: Psychedelic
Visions in the MAMBA Collection invited reflection about a time when art and society
were exploring new forms and seeking to break boundaries. It includes a critical
historical essay by Rafael Cippolini and contains numerous gallery shots, as well as
reproductions of works by such artists as Tomás Abal, Roberto Aizenberg, Juan
Andino, Antonio Andujar, Hans (Jean) Arp, Pompeyo Audivert, Bandi Binder, Luis
Fernando Benedit, Ricardo Blanco, Osvaldo Borda, Mildred Burton, Miguel Caride,
Alicia Carletti, Carmelo Carrá, Domingo Casimiro, Juan Cavallero, Ángeles de Armas,
Jorge de la Vega, Noemí Di Benedetto, Thomas Downing, Armando Durante, Manuel
Espinosa, Rubén Fontana, Carlos Furman, Eduardo Giménez, Abdulio Giudice,
Guillermo González Ruiz, Luis Gowland Moreno, Juan Grela, Miguel Harte, Alberto
Heredia, Narcisa Hirsch, Bruno Janello, Eduardo Joselevich & Fanny Fingerman,
Fabio Kacero, Gyula Kosice, Ricardo Laham, Julio Le Parc, Reinaldo Leiro & Arnoldo
Gaite, Leo Chiachio & Daniel Giannone, Alfredo Londaibere, Eduardo Mac Entyre,
Rómulo Macció, Víctor Magariños D., María Martorell, Elías Mekler, Marta Minujín,
Carlos Mordó, Roberto Napoli & Emil Taboada, Lowell Nesbitt, Oski, Aldo Paparella,
Marta Peluffo, Pérez Celis, Rogelio Polesello, Marcelo Pombo, María Laura San Martín,
Alejandro Sarmiento, Omar Schirilo, Ariel Scornik, Antonio Seguí, Aldo Sessa, Carlos
Silva, Oscar Smoje, Charlie Squirru, Juan Stoppani, Berenice Sydney, Georges
Vantongerloo, Gregorio Vardánega, Victor Vasarely, Peter von Artens and Xul Solar.
‘The story of the discovery of LSD-25 (the psychedelic drug par excellence, originally
used in experimental psychiatry) and its transfer to the counterculture has been told
many times. But above all it is the cultural difference between the experience of altered
perception due to the use of controlled substances and the aesthetics that derived from
its visual standardization. To put it another way, using local examples, while for Minujín
taking LSD was a way of moving beyond pop, for an artist such as her contemporary
Edgardo Giménez the psychedelic image was an imaginative graphic resource that
fedand introduced more complexity into the practice of the visual communicator. Minujín’s
psicadelia moved through the worlds of art and subcultures in the late 60s while Giménez’s
psicodelia opened up hitherto unheard of dimensions in the pop iconography without any
need for chemicals, forms that would soon pave the way for an invasion of colours, planes
and lines that defined the aesthetic landscape of a period. ’
Rafael Cippolini
