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El articulo propone reconsiderar las estrategias artisticas y conceptuales del CAYC -Centro de Arte y Comunicacion de Buenos Aires-, una institucion que apoyo la difusion del arte conceptual en Argentina en los anos setenta y se comprometio a promocionar internacionalmente a numerosos artistas latinoamericanos de la epoca. Si el Instituto Di Tella de Buenos Aires fue, segun Andrea Giunta, la institucion clave que ha establecido el marco para la popularizacion internacional del arte argentino -proceso que comenzo a mediados de los anos sesenta-, el CAYC, activo en la decada siguiente, es considerado un sucesor de sus “estrategias de internacionalizacion”. Las tacticas de Jorge Glusberg, curador y director del CAYC, de situar este centro en la escena internacional y su modo de vinculacion con los actores, instituciones y el mercado de arte occidental recibieron muchas criticas de parte de historiadores y teoricos de arte latinoamericano, tales como Luis Camnitzer y Nestor Garcia Canclini. No obstante, Glusberg tenia la ambicion no solo de defender el centro a nivel internacional, sino tambien de presentar su propia respuesta al arte occidental. El analisis de las estrategias de internacionalizacion del CAYC y del intento de Glusberg de redefinir las matrices culturales latinoamericanas y su modo de establecer lazos con los ambitos del arte de Europa occidental y de Estados Unidos, pero tambien de regiones consideradas marginales desde la perspectiva occidental, como Europa del Este, permitira reconsiderar el rol del centro durante la decada de los setenta. El objetivo de este articulo es arrojar una nueva mirada sobre la actividad del CAYC a traves del analisis de las relaciones de Glusberg con artistas de Europa del Este al adoptar el enfoque transregional. Este modo de acercamiento fue defendido por historiadores y teoricos como Piotr Piotrowski, que proponian una nueva lectura de los estudios globales del arte con el objetivo de descentralizar el modernismo occidental. Refiriendose al concepto de transmodernidad formulado por el filosofo argentino Enrique Dussel, este articulo propone construir una vision mas compleja, ambigua e incluso contradictoria del fenomeno del CAYC –no solo desde el punto de vista de su rol en los procesos de la globalizacion y mercantilizacion del arte, sino tambien en tanto institucion “periferica” que buscaba desmarcarse de las instituciones artisticas occidentales. This article proposes to reconsider artistic and conceptual strategies of the CAYC (Centro de Arte y Comunicacion-Centre for Art and Communication) in Buenos Aires, an institution that supported the spread of conceptual art in Argentina in the 1970s, and was engaged in the international promotion of several Latin American artists of that time. While Andrea Giunta, among others, considers the Instituto Di Tella in Buenos Aires to be a key institution that set a framework for the international popularization of Argentinian art — a process that began in the mid-1960s — the CAYC, active in the subsequent decade, is commonly considered the follower of its “strategies of internationalization.” Jorge Glusberg, a curator and the director of the CAYC, employed these tactics in order to bring the Centre onto the international stage. His way of connecting with actors, institutions, and the Western art market raised significant criticism from Latin American art historians and theorists, such as Luis Camnitzer and Nestor Garcia Canclini. However, Glusberg had an ambition not only to defend the Centre internationally, but also to present his own response to Western art. The analysis of the CAYC’s strategies of internationalization and Glusberg’s attempt to redefine Latin American cultural matrices, and his methods of establishing links with the art milieus of not only Western Europe and the United States, but also with the regions considered as marginal from the Western perspective, such as East Europe, allows us to reconsider the role of the Centre during the 1970s. The goal of this article is to throw fresh light onto the CAYC’s activities through the analysis of Glusberg’s relations with East European artists by adopting the transregional approach. The latter was defended by art historians and theoreticians, such as Piotr Piotrowski, who proposed a new reading of global art studies aimed at decentralizing Occidental Modernism. By referring to the concept of transmodernity coined by the Argentine philosopher Enrique Dussel, the article proposes to construct a more complex, ambiguous, and even contradictory vision of the CAYC’s phenomenon, not only from the point of view of its role in the processes of globalization and commodification of art, but also as a “peripheral” institution seeking to detach itself from Western art institutions.

journal of global studies and contemporary art/revista de estudios globales y arte contemporáneo

Hacia el arte latinoamericano globalizado. La auto-invención del CAYC -Centro de Arte y Comunicación- desde la perspectiva transmoderna y transregional.