Museo Nacional de Bellas Artes...
12:11 p.m.
In 1935, German philosopher Walter Benjamin defined the aura of a work of art as “the unique phenomenon of distance”, the Here and Now of the original, its authenticity. This definition speaks of the experience of facing the original masterpiece of an artist.
This idea however does not seem to apply to photography or conceptual artworks because, in the first case, several copies can be made and, in the second, it's the concept what's important, not the artist who finally develops it. Anyway, even if the aura is manipulated or crippled, seeing an artwork up-close is always moving.
This idea however does not seem to apply to photography or conceptual artworks because, in the first case, several copies can be made and, in the second, it's the concept what's important, not the artist who finally develops it. Anyway, even if the aura is manipulated or crippled, seeing an artwork up-close is always moving.
We waited a lot to see the masterpieces on display on the first floor of the MNBA, and now that the renovation process is over, there are all kinds of disagreements. It is true that the exhibition criteria is that of Museums in the early 20th century, that the lighting on certain works is not the best and that there should have been a special emphasis on Argentine Art, but let us enjoy today the closeness to the works, so important to art lovers and critics out there.
Room "Arte de la posguerra I: la nueva hegemonía" - MNBA
Up front: Figura reclinada, formas externas, by Henry Moore (1953/54)
Bronze / Measures: 80 x 210 x 104 cm
On the left: Concepto espacial, by Lucio Fontana (1959)
Ripped canvas / Measures: 65 x 72,5 cm
Concepto espacial, naturaleza, by Lucio Fontana (1962)
Ceramic / Measures: 66 x 80 x 72 cm
Room "Colección María Luisa Bemberg"
Up front: Meteore de 198, by Alicia Penalba
Bronze on cement stand
In the back, works by Pedro Figari
Keep reading... "The Work of Art in the Age of Mechanical
Reproduction", by Walter Benjamin.
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