Ever since it was founded, the CAYC (Centro de Arte y Comunicación), helmed by the cultural promoter, artist, and businessman Jorge Glusberg, was intended as an interdisciplinary space where an experimental art movement could flourish. The establishment of collaborative networks connecting local and international artists and critics played an important role in this process. In the early years, the CAYC organized exhibitions and activities which included many artists, intellectuals, and scientists, who explored the creative potential of new technologies.
In 1969, with its first exhibition, Arte y Cibernética (Art and Cybernetics), the CAYC established its experimental credentials, which were in line with ideas that had been presented on the international stage. The center hoped that this exhibition at the Galería Bonino in Buenos Aires would show what the new technologies could do for creative activity. The seminar’s curatorial plan therefore included electronic music composed by Dante Grela, Francisco Kröpfl, Carlos Rausch, Jorge Rotter, and Eduardo Tejeda. The center’s intention to blend disciplines was on display again in Argentina-Intermedios (Teatro Ópera, Buenos Aires, 1969), a show that included electronic music, stage arts, experimental films, and kinetic sculptures.
The experimental music concert was staged as part of the exhibition Arte de sistemas II (GT- 159, 163, 166, 167, 168, 169, 170, 180). The exhibition Arte de Sistemas II (Buenos Aires, September 1972) was installed simultaneously at three different venues: Arte de Sistemas Internacional (Museo de Arte Moderno de Buenos Aires), Arte de Sistemas Argentina (Centro de Arte y Comunicación), and CAYC al Aire Libre. Arte e Ideología (Plaza Roberto Arlt). This curatorial strategy had already been used at other exhibitions that organized experimental music presentations. (GT-162; doc. no. 1478697).
The event included an electronic music program by the North American composer John Cage (1912–1992), whose music theory was widely acknowledged on the international stage. The show used the Holimar sound system; Holimar was an Argentine company founded in the 1950s, a pioneer in the manufacture of high-quality sound equipment.
