Centro de Arte y Comunicación (CAYC)
There is no set definition for the Centro de Arte y Comunicación due to the fact that it is not a movement, artist, or idea. In fact the Centro de Arte y Comunicación, often referred to as the CAYC, is a place. The Center in Buenos Aires, Argentina was established in August of 1968 as a multidisciplinary workshop with the help of the long-time Director of the Center for Art and Communication, Jorge Glusberg. Daniel R. Quiles presented at a University conference and stated that, “the center’s focus always returned to Argentine conceptual artists; at root it was a promotional apparatus, and one can only promote the specific.” Conceptual art is an important concept to understand when speaking of the CAYC. The Tate Collection defines conceptual art as, “thinking beyond the limits of traditional media and work or their concept or idea in whatever materials and whatever form is appropriate”. From the CAYC came many influential Latin American artists and it also became a conduit for travelling artists to meet and discuss ideas. The center is a crucial component of Conceptual Art as well as Communications Media in the Latin American art world.
The most important person in relation to the CAYC is Jorge Glusberg. Glusberg is the director of the Center and has been since the opening in 1968. He is one of the founders of a group of conceptual artists working closely with the CAYC called “Grupo de Los Trece”, eventually changing their names to “Grupo CAYC”. Victor Grippo, Luis Fernando Benedit, Jacques Bedel and Clorindo Testa were the other members of this influential group. Glusberg is not only the director of this Center but an art critic as well. He wrote an article in a book titled, “Sanchez Elia, Peralta Ramos, Augustino y Clorindo Testa: Banco de Londres y America de Sud, Casa Central” speaking of Clorindo Testa and how his architecture and work as a conceptual artist helped shape the Argentine art world. Glusberg makes a point that architecture is a mode of communication and a symbol in space, which Testa achieves in his architecture.
Along with Glusberg and Testa, feminist artist Lucy Lippard proved important to the CAYC. When opening the center Glusberg used his connection to Lippard and to New York to show important conceptual exhibitions. In 1971 there was the “Arte de Sistemas” exhibition showing works from artists such as Victor Grippo, Clorindo Testa, and Dennis Oppenheim. Conceptual art is apparent in these artists’ works because each of their pieces is thought of in terms of an idea first, and then how they should execute that idea to create a work of art. Victor Grippo’s many installation works are an example of how an idea can be conveyed using may different forms of media.
Secondly, there are many movements that influenced Argentine art at the time of the CAYC in the 1970s. These influences have played a part in the gravitation towards Conceptual art in the Center. The New Image Movement brought about the idea of democracy, which in turn permits freedom of expression. Both Expressionism and The New Image Movement were responses to similar causes of militarianism, persecution, tyranny, torture, and the disappeared. In terms of architecture in Buenos Aires, there is an eclectic compilation due to the mixture of Classical, Baroque and Modern conceptions. Nearly any art could be considered Conceptual Art, especially those in the form of Performance Art, Arte Povera, and Land Art. The rise of Art Informel evolved into something reminiscent of the Cubist Movement, a geometrical abstraction.
Every movement taking place at this time is in some way a stepping-stone to Conceptual art. The CAYC was responsible for the majority of the artwork created in Argentina in the 1970s and 1980s, and always focused in on Conceptualism. The author of the book “Listen Here Now!” speaks of the new communications media being the instrument to universalize and socialize artistic messages. The introduction of advancements in technology also contributes to the Conceptualist Movement because they are new forms of media that could be used to convey a specific idea.
Some of the specific exhibitions that characterize the CAYC are listed on Left Matrix including 2,972,435 with Lucy Lippard as the curator, the Arte de Sistemas, as well as exhibitions set up solely based on specific artists such as Dennis Oppenheim and Victor Grippo. The people and movements that are crucial to Conceptual art and the CAYC are part of the evaluation of why this center is important.
The next step is to analyze any issues or problems that may arise from Conceptual art being the main focus of the CAYC. Due to the fact that the Center is one of the main producers of art in Buenos Aires in the mid to late 1900’s, it may be difficult for artists of other movements to have their work shown in an exhibition at the center. Although the center tries to be diversified in terms of background and origins of the different artists and their works, they tend to have tunnel vision towards Conceptual art. Although the Grupo CAYC has almost created their own method or movement of art through the center, the concentration on Conceptualism limits artists from expanding their works beyond this movement. Lucy Lippard’s contributions towards the Center may also limit the expansion of new ideas because of her focus on Feminist art. Her exhibitions would also be restrained to Feminist Conceptualism. Jorge Glusberg being the Director of the Center and also part of a Conceptual artist group himself may create a bias in this direction as well.
In sum, not only the people involved with creating and running the CAYC are an important aspect of the Center, but the movements taking place during the same time period also had an impact on the formation of the center as well. Conceptual art has been a heavy influence in the growth and expansion of the CAYC, and is still currently the area of focus for the Center. Functioning as both a conduit for artists around the world, and also a gallery and studio, the CAYC is a Conceptual Institution showing many global artist's work. The Centro de Arte y Comunicación is a key institution for many of Latin America's leading artists.
Dayna Horst
Fall 2009