After Oscar Ferrando, the secretary of the Club de Grabado de Montevideo (CGM), visited the Escola de Artes Visuais do Rio de Janeiro, Rubens Gerchman, the director of that school in Rio, expressed his interest in organizing a number of exchanges between the two institutions. Gerchman’s intention, more specifically, was to hold exhibitions of the CGM and to undertake an analysis of the club’s experience with monthly distribution of prints. Mention is made of the possibility, in the future, of setting up study grants and fellowships.       

Ties with Brazil were a constant in the development of the Club de Grabado de Montevideo (CGM). An experimental space for contemporary art, the Escola de Artes Visuais do Rio de Janeiro (EAV/RJ)—which had been founded in 1975, not long before this text was written—was cause for growing interest in the Uruguayan art scene. At the initiative of painter, printmaker, critic, and filmmaker Rubens Gerchman (1942–2008)—the school’s director—a series of institutional exchanges between the Rio de Janeiro-based institution and the CGM was set up. In this text, Gerchman states that the primary motivation of the tie with the CGM is to hold a group show; he mentions as well his desire to open spaces for research into printing processes and the monthly mass distribution of prints. The document insinuates that the CGM might, in the future, be considered for study grants and fellowships.

[For further reading see, in the ICAA digital archive, the following texts published by the Club de Grabado de Montevideo: “Concurso de grabado para edición” (doc. no. 863481), “13 años de actividad de Club de Grabado de Montevideo” (doc. no. 1183571), “El arte correo en el Uruguay” (doc. no. 1191850), “Boletín N° 7 Club de Grabado de Montevideo” (doc. no. 1182833), “Club de Grabado compra su casa” (doc. no. 1192649), “Club de Grabado de Montevideo 22 Aniversario 1953 - Agosto 1975” (doc. no. 1183514), “Club de Grabado de Montevideo a la población de Montevideo” (doc. no. 1183124), “Cuando el Tercer Mundo se mira a sí mismo. II Bienal de La Habana” (doc. no. 1184459), “De los grabados de ayer a las ediciones actuales” (doc. no. 1191787), “Definiciones / Uno” (doc. no. 1189065), “Entrevista a Luis Mazzey” (doc. no. 1186991), “Entrevista a Óscar Ferrando” (doc. no. 1186747), “Entrevista a Óscar Ferrando [segunda parte]” (doc. no. 1186802), “Fundamentos a propósito de su 22 aniversario” (doc. no. 1182640), “Mini Grabado Internacional de Cadaqués. España” (doc. no. 1191135), “La necesidad de la imaginación” (doc. no. 1190793), “Nuestra institución” (doc. no. 1182010), “Los nuevos movimientos de las artes” (doc. no. 1182868), “Opiniones (I)” (doc. no. 1185411), “Palabras de clausura para un año de apertura” (doc. no. 1191167), “Referencias sobre identidad, cultura y arte en Latinoamérica” (doc. no. 1183641), “Reflexiones en torno a la supuesta crisis de las artes plásticas” (doc. no. 1185539), and “Sobre el papel de la crítica” (doc. no. 1187071)].