The data of greater weight was the opening, a year back, of the Museum of Contemporary Art of Rosary (Macro). Located in the margins of Parana, it occupies the facilities of an old silo, fact that turns it the first vertical museum.

The Macro was possible by the maintained action of its director Fernando Farina, the Friends of the Castagnino Museum and the support offered by the Foundation Torches, before that vital fuel for our culture was extinguished. In Rosary, Torches made possible the first extension of the patrimony with the donation, five years ago, of 28 works selected by Marcelo Pacheco, today curador head of the Malba.

Neuquén, Jumps and River Galician has begun to weave a cultural plot of exhibitions and actions. Thanks to the impulse of curator Ignacio Gutiérrez Zaldívar, Soldi inaugurated the week last in River Galician. The Museum of Beautiful Arts of Neuquén opened great last Friday retrospective of Castagnino, framed in the cycle "Knowing to the great teachers", produced by Oscar Smoljan, director of the museum that received from its opening works of Rembrandt, Goya, retrospective of Pettoruti and the sample of engravings of the Vollard Suite de Pablo Picasso.

In Salta celebrated the first year of life of the Museum of Contemporary Art with the presence of Mariano Cornejo, that personally took the picture acquired by Chandon, in the last edition of arteBA, to enrich the patrimony of a museum of the interior. In few days it will be inaugurated in Tucumán a new edition of the Cultural Program Chandon more, that selects the best thing of the present production for a hall that has been gaining prestige, year after year, between the critic.

Cordoba has been counting for few months with the City of the Arts, candidate to become a pole of encounter of the artists with the public. It is not necessary to remember the rich pictorial tradition of Cordova, that has been going of Fader, Malanca, Caraffa and Genaro Perez, to Carlos Alonso, installed for years in Unquillo. The new destiny in Cordova is Potrerillos, where Luis Wells, the last one of the informalistas young people of other times, leads the Buenosairean exodus of the tribe of the arts towards Calamuchita.

Alicia de Arteaga

aarteaga@lanacion.com.ar

Props of the advertising graph of the films, the 60 posters come from the Foundation Argentina Film library. Teachers of the creation, the illustrators and caricaturists Osvaldo Venturi, Bayón Narcissus, Mario Pacciarotti and Rafael Faillace, among others, come to the memory through the images.

"the exhibition is for evocation, but also instructive. One locates in the well-taken care of work of the artists of graphite and the brush, when representing the collective necessity to inquire and into not losing, in an only outward journey, the sense of the illustration.

The sketchers hid themselves behind a very small company/signature because the star was the film, with their infaltables lights ", it express Claudius Spain in the catalogue of the sample.

Thus, the poster lasts beyond the title and they remember "Brook" (1934); "It is necessary to educate Niní" (1940); "the war gaucha" (1942); "the waters lower cloudy" (1952); , "the house of the Angel" (1957); "a lady's man of the 900" (1960) and "Stranger tenderness" (1964), among other films.

Link corto: http://www.lanacion.com.ar/809652

A cross, with the image of the Virgin of Luján in the center, had been fitted perfectly and the workers saluted from the stop, between applause.

That cross replaces the one that had been installed in 1926 and it fell at midnight of the 13 of June of 2000. A fall that providencialmente happened when there was no people down and who nor the surface of the tower grazed. It was as if it had been planned not to affect the building. Before the risk, the other was disassembled days later. The new crossings, in steel, bronze and receives, of 1400 kilos each one, were made in the Shipyard Santiago River, of the province of Buenos Aires, by 69 workers who used 15,000 working hours. The rays that surround the image by the Virgin have a gold bath. The original composition of materials was respected, but painting against the corrosion was put.

"It is an offering of the government from the province to the Gentleman", said engineer Hugo Bilbao, president of Shipyards Ri'o Santiago, that was thankful that it had thought about that company to make that "work sublimates", done with love by "Argentine hands for the Mother of Argentina". It considered that it is not fruit of the chance that just when they are given the crossings has signed a contract to construct ships that work by six years assures, and that the State contributes 78 million weights to modernize that shipyard. "the crossings remember those that we took to us personally and like country, but the cross by which Christ redeemed to us does not squash; it is a.redemption instrument ", said the archbishop of Mercedes-Luja'n, monsignor Rubén Di Mount.

The positioning of the crossings registers within the work of restoration of towers and facade of the building, in preparation from before the cross fell, but impelled in 2003 with a licitation, first of the Ministry of Federal Planning in the government of Néstor Kirchner, that implies 4.905.000 pesos. Yesterday, the architect Jorge Gazzaneo, coauthor of the project of putting in value of the building, constructed between 1889 and 1935, commented that the lack of maintenance takes to greater expenses.

Néstor Ponisio, of 66 years, will today retire of the company Shipyards Santiago River, which it entered like apprentice 1955. Masterful boilermaker, hoped until today to retire. He made the printing of the iron flowers and receives. "It is the culmination of my work; it is a glory ", he said, contentment. Like other 68 workers, who were present, were named guest of honor of Luján by the intendant Miguel Prince.

The archbishop blessed the second cross, that takes the sign A.M., by bird Maria, oration that all said. "Ships we do every year, but this is very special", said Luis Rivero, in the shipyard from 1972. They sounded the bells and arrived at the top the second cross. To elevate took it 15 minutes hardly, but other so many took to fit it. Monsignor Oscar Sarlinga, auxiliary bishop, said: "It is a symbol of the presence of Maria for our town. The Virgin sight to all our Pampas and all the conurbano through these crossings ".

By Jorge Rouillon Of the Writing of LA NACION

The Museum of Archaeology of Alta Montaña (MAAM), opened to its the 19 doors of November of 2004, in Jumps. Nevertheless, which stops many specialists related to the world of the museología sounds, a priori, like the very good news, it finishes drawing faces of preoccupation and bitterness when it is spoken of the subject.

The main patrimony of the MAAM is ajuares and momias discovered by an expedition financed by National Geographic in 1999, in the top of Llullaillaco volcano, in Jumps, to 6730 meters of height. There they were found momias of three small Incas sacrificed in a religious ceremony 500 years ago, that better consider the conserved bodies of that culture.

"Today it is not considered ethical to exhibit human rest - Américo argued Castile, national director of Patrimony and Museums -. the museums no longer must be sites in where trophies are exhibited, since until for some decades. To show momias of the Llullaillaco as if they were objects, in any case has more to do with a mercantilista vision and of spectacle, that scientist ". In the same line, the director of the Ethnographic Museum, Jose Antonio Perez Gollán, agreed whereupon the tendency not to show human rest is world-wide and although it admitted that in the museum that directs there is momias in the collection, would not be happened to them to exhibit them. In fact, own Perez Gollán caused and made specific the last year the return of a maorí head to native groups of New Zealand.

But from the MAAM, in It jumps, the things are different. "the truth is that we are forced to show momias. Constantly we received people notes who us request it ", said Gabriel Miremont, director of the MAAM. The museum must be to the service of the community, and my community agrees in exposing them." For Miremont, not to expose momias would be "to prevail to the people of its own democratic election on if it wishes to see them or not". And it assured that the native communities of the zone support the decision to expose the momificados children, since they consider a sanctuary the museum that directs.

Rogelio Guanuco is the president of the Indigenous Association of the Argentine Republic (AIRA), oldest and representative of the country, that groups to 70% of the 868 native communities of Argentina. Guanuco, that indeed is diaguita of the salteños Calchaquíes Valleys, whenever it speaks of momias says "our children". "This is a total violation to our dear beings. Our ancestros taught to us that the sacred sites are not touched. And the Llullaillaco today continues being a sacred place for us. But there is a total lack of understanding on the part of the western culture. They must never have profaned our sanctuary, and less to expose our children, as if outside a circus."

"Really, much people do not imagine the meaning of all this and the value of the rest for the indigenous communities", thought Gustavo Politis, the investigator of the Conicet that impelled in 1995 the return of the rest of the Inacayal cacique (that kept in the Museum of the Silver) to the communities tehuelches and araucanas.

The specialist warned. "the children of the Llullaillaco do not have to be exhibited because the feeling of the original towns is injured. What you would feel if in the Falklands the English exhibited in a museum the rest of an Argentine soldier ". And he added, on archaeology: "It is a science of the present with potential to transform the reality, not only to the service of the western culture. For that reason, National Geographic and the exhibition of momias show the worse face of archaeology ".

Adolescent of between 15 and 16 years; they call "doncella"

Finally, the lawyer and archaeologist Maria Light Endere, investigator of the Conicet, noticed that, although a law does not exist that it prohibits to exhibit momias, the Constitution maintains that the original towns must right to participate in the management what affects them, like can be the exhibition of momias of their ancestros, thing that was not respected. "In fact, Justice at its moment misestimated a presentation of a community colla, because momias was removed from the volcano without considering the community", it remembered. And she maintained that to avoid the exhibition of the MAAM he would be feasible to present/display a shelter resource since they are in game I interest collective.

It is certain, nevertheless, that the opinion of these specialists hits against a reality: to people it likes to see momias. "we already know that people he attracts morbo to him - recognized Perez Gollán -. But we are not the television. With that criterion we would have to also show a native undresses and I assure to him that we would have a pile of public... " This civil employee, who inclines to give back momias to his descendants, expressed: "from we already go, the excavation of the Llullaillaco was a savagery. The seriousness of the work was relative, because they only went to remove momias and now she is wanted to make a circus with that ".

By Fernando Halperin Of the Writing of LA NACION

RITUAL INCA:

"doncella", "the girl of the ray" and "the boy" - thus they were named are momias that it tries to exhibit the Museum of Archaeology of High Mountain from the 19 of November. The children died 500 years ago, sacrificed during a ritual Inca, and were buried accompanied by an impressive one to ajuar that he includes precious metal objects. Extreme the climatologic conditions, to 6730 meters of height, caused that to five centuries of that fact the bodies of the children were conserved so well that they seem as soon as slept.

Without for that reason being inferior, far from it, the important museológica structure that it is pride of the country, falls by its weight the transcendental importance of the Historical Museum that, without a doubt is, guardian of infinity of objects that comprise of the most expensive memory of the Argentineans, given its quality of testimonies of the gradual formation of the nationality and the consolidation of its fundamental institutions.

In the heat of to maintain it activity in its seat of the old mansion of the villa of Lezama, now park homónimo in the South end of San Telmo, is expensive, by the way. Nevertheless, the budgetary allocations are thin and they only cover the fixed expenses - pays, payment of services, security and maintenance -, as they have admitted the authorities to it of the sector. They lack, for example, office articles, to the time that is impossible to repair or to recover the objects that, being integral part of the museológico patrimony, have suffered some damage because of their reasonable antiquity.

Also, numerous pieces - flags, clothes, pictures and furniture, among others are outside exhibition by lack of space. Among them, the valuable series of paintings on the war of the Paraguay, signed by Innocent Lopez. There are no suitable enclosures to give appropriate shelter them and the unavoidable hacinamiento affects them still more.

The answer to this laborious listing of insufficiencies could not be more travelling. According to the pretension of civil employees of the Secretariat of Culture of the Nation, the director of the museum - it is of supposition that the one of the Historical one or any other would have to manage more originating contributions of the Association of Friends and of the companies that, good will by means of, take care to replace the indifference and the passivity of the State.

Of the director of a museum it would have to hope that he was suitable in its specific necessity and that it applied to those knowledge and dedication to conserve properly and to increase the patrimony to its position. Apparently, this concept, own of the common sense, does not agree with the one of the authorities of Culture, whose manifestations it is come off that the occupants of those positions must have aptitudes for the collection of gifts or the pick up of auspiciantes, like remedy to correct the lack of the resources that the State usually squanders in purposes politically more beneficial.

It would be positive that those stingy criteria were replaced by an ample endorsement to the cultural task in general and the museums in individual. And it would agree that those civil employees thus remembered who the museológico patrimony is fragile and nonrenewable, the losses, or by destruction or lack of maintenance, implies a decrease that its disinterestedness infers to him to the historical memory of all the Argentineans.

With waters divided for that aesthetic ramplona, plagued of cliches, the theoreticians of the art, in as much, they celebrated with praises the rupture of that new iconography derived from prosaic products of the consumer society.

Almost half century after the sprouting of pop art of the hand of Rauchemberg, Warhol, Oldenburg, Rosenquist and of the own Roy Lichtenstein, in South America the intimate plot of the work of this last one appears for the first time in the Malba that will be able to be visited until the 7 of August.

The exhibition, produced in collaboration with the Roy Lichtenstein Foundation, unfolds of anthological way the studies in paper, from year ends 50 to the 90, that the painter and New York escultor produced like sketches for their linen cloths of great size. Drawings, inks and collages show to their investigations in the figures of Mickey Mouse and the Donald Duck and cross their more outstanding series: The surrealistas Brochazos (1965-66), Mirrors (1970-1972), Entabladuras (1971-1976), paintings (1977-1979) and the set inspired by the history of the art, from works of Cézanne, Picasso, Monet, Matisse and Mondrian (1962). Lichtenstein saw in the emblematic images of cómic the source to represent and to parodiar an aesthetic one of massive consumption from which never it separated in more than 50 years of plastic task, that left a production of more than 3000 drawings and collages.

Thus, explosions and firings sent by firearms are seen in the sample; felines that intimidate with the typical Grrrrrrrrrrrr; interiors of livings, and women in daily situations that cry the absence of some lover or that share a little while of privacy with a roommate.

To defy to the canon

"When retaking the use of readymade by the dadaístas, viñetas of comic strips served to him to do everything what it assumed that did not have to become: to represent, as if a mechanical form one was, an image of by familiar and already repetitive himself. That was the original form with which it questioned the perception of the nonartistic thing ", pointed Natasha Sigmund, the shipment of the Lichtenstein Foundation to mount the sample in Buenos Aires.

By Loreley Gaffoglio Of the Writing of LA NACION

Photo: Aníbal Greco

"Perhaps his more Maxima wise person was: It is not necessary to pretend; it is necessary to be, and it was that coherence the one that distinguished its prodigal intellectual work, its critical and theoretical task, and his personal life. For that reason I did it with pipe and eyeglasses flúo, since it had not pardoned to me that after its death, 1989, transformed it into a Romero Brest of bronze." The one that speaks is Edgardo Giménez, artist and designer in multiple supports that have taken to the National Museum of Beautiful Arts by assault to render, until the 18 of June, posthumous tribute to one of the personalities of greater gravitation in the Latin American plastic arts: Jorge Romero Brest, factótum of the Institute I gave Tella, ex- director of the MNBA, founder of the influential magazine of art To see and To consider.

A man iconoclasta that with its audacious vision revolutionized the conception of the art when installing and to spread to a modernist paradigm the Latin American art and to contribute to the artistic experimentation of years 60. With it he fertilized the way so that the Argentine pop movement acquired own flight and it was different itself from the arisen one in London and New York.

To meters of its installation, with enormous photographies of Jorge Romero Brest in two rooms of the MNBA, the fecund inheritance of the critic: the theoretical and critical legacy of Romero Brest appears compiled in a book object for the first time of more than 500 pages and 7000 images, that document to the development and height of the pop movement in Argentina during the 60 and the 70. In addition to unpublished texts of the critic, tests of Pierre Restany, Ernesto Schoo, Albino Diéguez Videla, Enrique Oteiza, Maria Jose Herrera and Andrea Giunta, among others, and from two conferences on the problematic one of the contemporary art compiled in two CD, the book comes to fill the theoretical and publishing emptiness at the time of including/understanding the plastic efervescencia of two decades.

Visual impact

To Alberto Bellucci, director of the museum, their eyes seem to leave orbit as opposed to the visual impact of the images of Romero Brest in their house of City Bell, designed by Giménez in the 70. The privacy of a Romero Brest of entrecasa in different situations illustrates its thought, gathered in fragments on the walls of the Beautiful Arts, like which it says: "he is not cultured by appropriation, but by action".

"With this installation tribute I wanted to confront the freedom with which Jorge thought, with its way to live in syntony with its liberating vision of the art fused in the same life. It said: "people, with which more mind, is with the word and when the moment arrives for demonstrating that that preaches appears a sidereal distance". The wonderful thing of him is that its thought reflects its way exactly to live ", reflects Giménez, and shows the eccentric house where the critic lived.

Perhaps for that reason, the theoretician whom he changed continuously, replacing old new and "better concepts by the other ("thought always renews ", maintained and Mujica Lainez answered to him: "You always defending knicks-knack"), irritated so much to establishment artistic. He already said to it: "the Argentineans we are very shared in common in the misfortune, but never in the success and less in which he is original".

Desertion zero, since nobody the appointment needed. It was like to have backed down 40 years in the time the needles to evoke a personality and a glorious time, that the history of the Argentine art marked and placed to the national artists in a plane of equality with the greater creators of the world, urged on partly by that "untiring provoker" who was the matchless Jorge Romero Brest, as they evoked it yesterday.

With the National Museum of Beautiful Arts invaded by the music of the Rolling Stones, exquisitely mixed by Francisco Kropfl, of the Center of Musical Experimentation of the Recoleta (inheriting of Di Tella), the sound track contributed a sesentista rate to an evening that last night mobilized to great part of the 800 guests who overwhelmed main reservorio with the Argentine art.

Impossible it would be to enumerate to all those that last night, in a little usual gesture in happening cultural Argentinean, offered an unconditional accolade to honor and to celebrate the passage of "a theoretician and exceptional critic, whose emptiness still hopes to be occupied by some other thinker of its caliber", as the present director of the Beautiful Arts commented, Alberto Bellucci.

Be enough to mention to Benedit, Beadle, Minujin, Olivera, Iron gate, Paksa, Acosta, Orensanz, Schusseheim, Strap, Elía, Garci'a Uriburu and Bergara Leuman, Torcuato Di Tella, Jorge Helft, Laura Buccelatto and Mauro Herlitzka, between many other figures.

The director of the museum, Alberto Bellucci; Edgardo Giménez - author and impeller of the tribute -, and the director of the National Library, Horacio González, presented/displayed a monumental book - with more than 500 pages and 7000 images that reproduce of meticulous way the most prominent decades of the national artistic agitation. Giménez thanked for "the unconditional support of the widow of Guido Di Tella, Nelly, in the accomplishment of the monumental book". González talked about the critic of the theoretician as "a work of art in itself", with infinity of connections with the thought of Foucault, Heidegger, Merleau Ponty and Sartre.

"it discussed by hand with them in a hand, of great provocation and disquiet for the rest of us. Those texts are today a relicario, a formidable testimony of a time of gold ", said.

By Loreley Gaffoglio Of the Writing of LA NACION

In order to repair the tacita one is due to wash with neutral detergent and to let dry on a rag so that the water is absorbed.

When this drought is already due to test with different joints until giving with the advisable order but.

When adhering the fragments with epoxídica tail are due to wait for seconds to that it has made effect without letting exert pressure with both hands. Soon the yolk will be due to happen of the fingers through the junction to make sure that the piece has not been in unevenness. Finally it will be let rest until it is dried trying that the weight of fragments falls on the breakage.

In order to make desapararecer until it completes breakage signal goes through the line of junction a small one of stucco that will take off later of the drying with very fine sandpaper.

Soon the color adjustments that will have to be exact, will be necessary to test several until giving with the indicated one. The colors are due to extend with gentleness. For the gilded ones purpurina in dust with a drop of varnish will be used nitro is transparent.

This small table of work and dressing table by root of ash with ebony profiles all the typical elements of l are present French style Restoration: The architectonic exposition still in the line Empire, the front legs in form of brace decorated with a palmeta and that finishes with foot of lion claw, the clear wood and the dark wood moldings.

The painted porcelain plate that decorates the surface is quite unusual, in fact, appears in very few and refined exemplary and denotes, in its iconography, a considerable relation with the Austrian painting Biedemeier.

Table of limoncillo with lectern: One is a typical French pull-lectern of bed, of adjustable height, in which the style Carlos X well is represented by the clear wood and vivaz entrecruzamiento of earrings and palmetas of amaranth that determines the typical chromatic resistance of the period.

Also the marked curved lines denote quite unusual an expressive maturity, that of some way it seems to advance to the stylistic schemes of the time Luis Felipe.

Small plated dressing table of walnut and root of walnut. The sweet wood structure and the decorative sobriety allow to attribute to the furniture to a style production delayed Empire.

The architectonic line, the swan necks that maintain to the mirror and the feet of lion claw are the taste empire, but the furniture is lost all type of severity and the form of the front supports appears clearly influenced by the formulas of the French Restoration.

It was an initiative of the National University of San Martín unexpected Findings

Four artists, a chemistry, 280,000 pesos and six months were sufficient to give back "with life" the images of twelve women who, according to the European tradition, prophesied the coming of Jesus Christ and who, after almost two centuries and means, became blurred in sacristía of San Pedro Telmo, one of the oldest Buenosairean temples.

The twelve sybils of San Telmo, one of the most important series of the Hispano-American colonial painting, was recovered by recently created Center of Production and Investigation in Restoration and Artistic Conservation of the National University of San Martín (Unsam) - in whom the factory works Task, founded by the Foundation Torches -, and will be exposed from the 2 of August to the 8 of September in the National Museum of Decorative Art.

The pictures of the twelve priestesses were hung in sacristía of the church San Pedro Telmo since they arrived at the River of the Silver, at the end of century XVIII. In last November they were offed-hook by the restauradores of the Unsam, by initiative of Héctor Schenone, expert in Hispano-American and advisory colonial art of the factory Task, and in September they will return to San Telmo with the brightness and splendor that they had two hundred years ago.

The twelve paintings show the figures of each one of the sybils, all as elegant as mysterious, that they maintain an oval of flowers within as the scene of the life of Jesus is seen prophesied by that pitonisa and,

in the base, a grutesco or parapet - a guard with inscription-with delicate angels and leaves of acanto, in whose center the prophecy is written, as "Santo will incarnate itself in a virgin by work of the Spirit"; "it will revive deads, give to blind Vista and other many miracle"; "it will be crucificado by the.redemption of the world".

These fortune tellers pertaining to the preChristian paganism were painted by great artists like Miguel Angel in the Sistine Chapel, Giotto in the bell tower of Florence and Rafael in the church Santa Maria of La Paz, in Rome.

Clarified origins

To the series of the sybils of San Telmo traditionally two possible origins were attributed to him: Andean a Spanish factory or one or cuzqueño.

Jose Emilio Burucúa, historian and director of the Research center of the Unsam, and Néstor District, director of the factory Task, agrees in which in the work of restoration they found evidences to give credit to the second hypothesis.

"We found in the National Library of Paris a series of engravings of the flamenco artist Crispín de Passe, of 1617, that by the similarities with our sybils was the models used by the cuzqueños artists", Burucúa said, and added that in the seminary San Antonio Abbot, of Mexico, there is an almost identical series to the Argentinean, but of five images. "This test that was painted in Latin America", it said, and it added to this evidence the use of claroscuros and the characteristics of the women.

Another one of the findings of the restoration was the original painting of the marks: that was discovered that they had a same matrix, that was hidden under a black painting and a golden fillet, incorporated during the century XIX, alternates dark sections in the corners with other jaspeados, that they look for to imitate veins of the stone. One also detected that, of the twelve pictures, ten are original of century XVIII and two were painted in century XIX.

"When leaving them as they were painted we are giving to the pictures the original meaning. The jaspeado one of the marks is symbol of the eternity of the stone, of which it stays ", it explained District.

By Silvina Premat Of the Writing of LA NACION