2017
Spanish Edition
Texts: María Inés Afonso Esteves, Silvia Borja, María Amalia García, Pino Monkes,
Marcelo E. Pacheco, Hugo Pontoriero, Wustavo Quiroga and Valeria Semilla
Catalogue Raisonné: María Inés Afonso Esteves, Sofía Frigerio, María Amalia
García, Beatriz Montenegro de Antico
Graphic Design: Eduardo Rey
–
320 pages
Format: 25 cm x 20 cm
ISBN 978-987-1358-51-9/h6>
–
This publication is a catalogue raisonné of the Ignacio Pirovano Collection, the keystone
of the Museo de Arte Moderno de Buenos Aires Collection. Apart being from the fullest
technical and visual exhibition of its component works, it brings together key documents
and images from the story of its formation. It also comprehensively charts various aspects
of the collection in essays by specialists from various disciplines of research and
conservation such as María Amalia García, Marcelo E. Pacheco, Pino Monkes, Hugo
Pontoriero, Wustavo Quiroga, Valeria Semilla, María Inés Afonso Esteves and Silvia Borja.
The collection includes works by Georges Vantongerloo, Víctor Magariños D. Eduardo
Mac Entyre, Miguel Ángel Vidal, Ary Brizzi, Miguel Ocampo, Carlos Silva, Vassily Kandinsky,
Francis Picabia, Sonia Delaunay, Piet Mondrian, Auguste Herbin, Josef Albers, Friedrich
Vordemberge-Gildewart, Tomás Maldonado, Alfredo Hlito, Enio Iommi, Hugo Demarco,
Sesotris Vitullo, Julio Le Parc, Manuel Espinosa, Jorge Gamarra, Eduardo Jonquières,
Ricardo Laham, Adolfo Estrada, Hilda Mans, Luis Alberto Wells, Alberto Greco, Ignacio
Pirovano, Claude Monet, Antonio Alice and Héctor Giuffré.
‘The history of art has a mania for revelations. Chance encounters between the scene’s
actors become surprising, unexpected events. Individual influences alter processes and
create exceptional situations of broad collective projections; the field and its coincidences
is ordered by caudilloesque models.
It is claimed, for example, that the start of the relationship of the ruralist, collector, painter
and theorist Ignacio Pirovano with the artist, designer and theorist Tomás Maldonado was
the source point or driver that prompted Pirovano to collect non-figurative art in the 1950s,
today a cornerstone of the Museo de Arte Moderno de Buenos Aires. The influences
– especially the early ones – on the assembly of Pirovano’s collection were marked by
Maldonado, who had as early as 1948 travelled to Europe and seen for himself the latest
output related to concrete art and constructivism, as well as that connected with the
early-twentieth-century avant-gardes and innovations in abstraction.’
Marcelo E. Pacheco
