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. The exhibitions shone a light on these exchanges, in which overviews of trends or individual artists provided an introduction to the innovations of international contemporary art and made Argentine and Latin American artists better known on the global scene.
The desire to forge close ties between Latin American and Eastern European artists was a basic component of the CAYC’s strategy for international exchange. The Buenos Aires center’s artistic and cultural goals relied on the idea of a “joining of forces” between art scenes in what were considered Third World countries, something that, in Glusberg’s view, would lead to the creation of experimental art that reflected the problems these countries had in common.
The organization of this exhibition of Czech engravers, which was first presented in May 1972, (see GT- 121 [doc. no. 1476407]), was one of Glusberg’s creative attempts to forge ties with countries that were part of the socialist bloc. This was something he had already done by reaching out to experimental photographers in Poland (GT-10 [doc. no. 1476276]). It was a significant step under the circumstances, given the Cold War and the increasing dissemination throughout Latin America of the Theory of Dependence, which explained that the poverty the region’s countries were experiencing was a result of the oppressive policies of the major world powers.
This newsletter announces the opening of a new edition of the exhibition, presented as part of the second Exposición Internacional del Mueble y la Decoración, which opened in September 1972 in Buenos Aires. The event—which took place at the Centro Municipal de Exposiciones and was organized by the Cámara de Empresarios Madereros y Afines (CEMA), whose logo was featured in this newsletter—showcased the latest styles of household furniture and accessories.
