Tucumán Arde en la ciudad : campaña publicitaria de la 1º Bienal de Arte de Vanguardia
Fecha
2005
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UNR Editora
Resumen
Este trabajo se centra en una mirada sobre la campaña publicitaria de la Primera Bienal de Arte de Vanguardia en 1968, en Rosario, conocida por la historiografía como Tucumán Arde y su relación con la ciudad como soporte físico y material de la puesta en escena de un dispositivo publicitario destinado a promocionar un evento artístico.
La ciudad aparece como el soporte urbano y sus espacios fueron tomados de manera intrusiva, no tradicional, mediante diferentes vías de utilización: por un lado al recurrir a anuncios (graffitis, afiches, carteles, volantes, emisiones radiales, etc) y el uso de un espacio urbano por fuera de los tradicionales para el montaje final de la muestra. Recordemos que el evento se realizó en la sede de la CGT, en calle Córdoba al 2000, en el microcentro de Rosario, sin embargo, este sitio, por sus cualidades funcionales (sindicato obrero) nunca hubiese estado dentro de los parámetros de una exposición artística tradicional.
En estos momentos, el gobierno de facto que había derrocado al presidente Arturo Illia dos años antes, propone el Operativo Tucumán como una propuesta de promoción y activación de la producción tucumana, camuflando una estrategia de eliminación de los ingenios azucareros. Este es el tema central sobre el cual se organiza Tucumán Arde, a partir de la conjunción de artistas y colaboradores un clima de difícil actuación, de opresión y control por parte de las autoridades a cualquier tipo de intervención colectiva.
This work focuses on a view upon the 1st Avant-Garde Biennale advertisement campaign in 1968, in Rosario, known in historiography as Tucumán Arde (Tucumán is Burning) and its connection to the city as a material and physical canvas of the mise-en-scène of an advertisement display intended to bring into public knowledge an art event. The city appears as an urban support and its spaces were taken in a non-conventional, intrusive manner, used in different ways: on one hand, by resorting to ads (graffiti, posters, signs, leaflets, radio broadcasting, etc.) and by using an urban space outside conventional ways for the permanent installation of the show. Let’s remember the event took place in the headquarters of the CGT (Central General de los Trabajadores; General Workers’ Union Center), in 2000 Cordoba Street, in downtown Rosario but this place—as for its functional qualities (a workers’ union)—would have never been included within the standards of a conventional art exhibition. In those days, the “de facto” government that had overthrown President Arturo Illia two years before, started Operativo Tucumán (Tucumán Operation) as a scheme for encouraging and enhancing production in the province of Tucumán, camouflaging a secret agenda of destruction of sugar mills. This is the main theme which Tucumán Arde revolves, from a joint contribution by artists and other participants in an atmosphere of difficulties for action, where official authorities oppressed and controlled collective actions of any kind.
This work focuses on a view upon the 1st Avant-Garde Biennale advertisement campaign in 1968, in Rosario, known in historiography as Tucumán Arde (Tucumán is Burning) and its connection to the city as a material and physical canvas of the mise-en-scène of an advertisement display intended to bring into public knowledge an art event. The city appears as an urban support and its spaces were taken in a non-conventional, intrusive manner, used in different ways: on one hand, by resorting to ads (graffiti, posters, signs, leaflets, radio broadcasting, etc.) and by using an urban space outside conventional ways for the permanent installation of the show. Let’s remember the event took place in the headquarters of the CGT (Central General de los Trabajadores; General Workers’ Union Center), in 2000 Cordoba Street, in downtown Rosario but this place—as for its functional qualities (a workers’ union)—would have never been included within the standards of a conventional art exhibition. In those days, the “de facto” government that had overthrown President Arturo Illia two years before, started Operativo Tucumán (Tucumán Operation) as a scheme for encouraging and enhancing production in the province of Tucumán, camouflaging a secret agenda of destruction of sugar mills. This is the main theme which Tucumán Arde revolves, from a joint contribution by artists and other participants in an atmosphere of difficulties for action, where official authorities oppressed and controlled collective actions of any kind.
Descripción
Palabras clave
Tucumán Arde, Rosario, campaña publicitaria, vanguardia, 1968, advertisement campaign, avant-garde
Citación
FRONTINI, Ana Florencia. “Tucumán Arde. Campaña publicitaria de la 1º Bienal de Arte de Vanguardia”, en La Trama de la Comunicación Vol. 10, Anuario del Departamento de Ciencias de la Comunicación. Facultad de Ciencia Política y Relaciones Internacionales, Universidad Nacional de Rosario. Rosario. Argentina. UNR Editora, 2005.