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. As part of the interdisciplinary approach the CAYC had always taken, the center promoted experimental practices, appropriating a variety of examples of Argentine art from the 1960s.
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 already been presented on the international stage. The center hoped that this exhibition at the Galería Bonino in Buenos Aires would show what new technologies could do for creative activity. The exhibition’s curatorial plan included electronic music composed by Dante Grela, Francisco Kröpfl, Carlos Rausch, Jorge Rotter, and Eduardo Tejeda.
The center’s intention to combine disciplines began with Argentina-Intermedios (Teatro Ópera, Buenos Aires, 1969), a show that included electronic music, performing arts, experimental films, and Kinetic sculptures. The CAYC also organized an experimental music concert as part of the introduction to the exhibition Arte de sistemas II (GT-161; doc. no. 1478696, GT-162; doc. no. 1478697).
The center’s musical events usually consisted of electronic or electro-acoustic music since these styles were focused on experimenting at the intersection between art and technology, which was one of the CAYC’s main interests in its early years.
This newsletter announces a concert of electro-acoustic music featuring pieces by the composers Luis María Serra (1941–2024), Julio Martín Viera (b. 1943), Lionel Filippi (b. 1943), and Jorge Rapp (1946–2010), all of whom had graduated with degrees in music from the Universidad Católica Argentina (UCA). Serra and Filippi created the pieces they presented at European institutions, while Viera and Rapp did so at the Grupo de Experimentación Musical at the Centro de Investigación en Comunicación Masiva, Arte y Tecnología (CICMAT). This center was based at the José de San Martín theater complex and hosted the Laboratorio de Música Electrónica, which had been at the CLAEM at the Instituto Di Tella until 1971, after it closed.
