The Neon Tunnel, from La Menesunda, 1965 (detail). Installation view: “La Menesunda según Marta Minujín” [La Menesunda according to Marta Minujín], Museo de Arte Moderno de Buenos Aires, 2015. Courtesy Museo de Arte Moderno de Buenos Aires. Photo: Josefina Tommasi
Join us for a special panel discussion featuring scholars and experts in Latin American art, feminism, and media ecology as they present three innovative new readings of the history and significance of Marta Minujín’s legendary installation La Menesunda. Partially due to the writings that Argentine critic Oscar Masotta published in the 1960s, Minujín has been historically understood as a Pop artist, which has had the unintended effect of reducing the complexity and breadth of her work, while also perpetuating a hierarchical understanding of the relationship between the postwar North American Pop art and the work of other Latin American artists like Minujín. In reality, however, Minujín’s career—and La Menesunda as a specific moment within that career—reveals a far more fluid and complex transnational network of exchange around ideas of participation, gender, and critique.
Since its first installation at the Center for Visual Arts at the Instituto Torcuato di Tella in Buenos Aires in 1965, La Menesunda has only been recreated twice, the most recent iteration being the current New Museum exhibition, “Marta Minujín: Menesunda Reloaded.” Taking advantage of this unique opportunity, the scholars gathered together for this program will bring their expertise in art history, feminism, Latin American history, and media theory to bear on exciting new interpretations of Minujín’s radical installation.