2023-09-09 07:27:22
Next Tuesday, September 13, the Osvaldo Lamborghini exhibition opens. Material copyist, in room 502 of the CCK, Sarmiento 151, City of Buenos Aires. With free entry and no reservations required for public entry, available from Wednesday to Sunday from 2 to 8 p.m., the exhibition ends on November 12 of this year.
This proposal contains material unknown to the Argentine public that belongs to the Osvaldo Lamborghini Fund. It is kept in the IIAC Archive (Institute for Research in Art and Culture Dr. Norberto Griffa) of the National University of Tres de Febrero, donated by Elvira Lamborghini, daughter of the writer, who brought it back to the country around 2015. –without any institutional support– from the city of Barcelona, Spain, where Osvaldo lived between 1980 and 1985, the year of his death.
The Osvaldo Lamborghini Fund (visible on the web: archivoiiac.untref.edu.ar/fondo-osvaldo-lamborghini), contains more than eight hundred pieces that include collages, paintings, drawings and various intervened objects, plus notebooks, boxes and cigarette cases. That is, the writer’s production in his apartment-workshop, where he secluded himself in the last two years of his life.
The exhibition is an example of visual and object production, more drafts and typewritten sheets that aspire to the materiality of the book, along with drawings that point to the painting; set of pieces whose permanent mutation goes from manuscript to sketch, which is neither book nor painting, but provokes that unstable final vision as an aesthetic experience of the whole.
Something that the curatorial text defines as a struggle of languages that, in turn, produces brutal couplings between visuality and writing. The curatorship is the responsibility of Paola Cortes Rocca and Agustina Pérez, with production by the CCK team and exhibition design by Melina Raed.
Osvaldo Lamborghini (1940-1985) published El fiord (1969), Sebregondi retrocedes (1973) and Poemas (1980), a total of less than one hundred pages that registered him as a cult writer, and whose reading forever marked Argentine literature. of the 20th century, outside the decisive presence of Jorge Luis Borges. During the 70s, he scripted the comic Marc!, as well as various comics. Together with Germán García and Luis Gusmán he founded the magazine Literal.
The exhibition room is divided into three spaces: Writer, scribe, calligrapher (1969-1981); Reading it is seeing it (1982-1985) and Pictionario (1940-∞). It will have handwritten pages from the stories “El pibe Barulo”, “La causa justa” and “Sebregondi se excess”; a showcase with the written-visual-objective device Proletarian Chamber Theater (TPC); a mural with drawings, paintings, collages and images before and following Lamborghini (from Goya to the stagings of Carri and Lang), conceived by Cortes Roca; plus a giant screen where documentary material regarding the TPC, made by Pérez, is projected.
Although the recycling ranges from old pornographic magazines to texts and school materials, the curators indicate that the set fulfills a goal: “as Oscar Masotta maintained with his ‘we dematerialize’, the avant-garde of the 60s and 70s preferred to give rise to experiences as unique as ephemera, rather than producing objects called works. Lamborghini joins that project, but opting for the opposite path. In his case, it is an extra materiality, a commitment to that zero degree of verbal and visual matter that underlines a creative process that does not find its definitive form in the book or the painting. ”
For Agustina Pérez: “He who only yesterday wrote works like Sebregondi retreats, deserts the aseptic conception of the page, a conception that not only had been questioned long before by Stéphane Mallarmé, but also does not constitute any “essence.” of the literary, as medieval illuminated manuscripts show. His production, which at the same time as it advances towards the web, goes back to the Middle Ages, does not agree with the hygienist autonomy of the practices that continue to prevail. In the author’s work there is an exasperated continuum in that “single text” that crosses various works, arts, supports, tools and materials. “A clogged, unbridled and desperate writing that uses any means to achieve itself.”
Pérez, who is in charge of the transcription and notes of the imminent facsimile publication of Teatro Proletario de Cámara in four volumes, by Editorial Nudista, Río Tercero, Córdoba, returns to the fact that in “the last two years of his life, Lamborghini already He does not write, understanding writing in classical terms, and he dedicates himself to the production of more than a thousand artistic pieces in other formats. However, I think we must be literal when, in the Proletarian Chamber Theater, the author refers to the ‘grimace’ nature of his abandonment of writing. Grimace, gesture, pout: in any case, it is more of a pretending that one no longer writes, when in truth one continues to write, only by other means.”
As a game of the past in the present, and pointing out the validity of Lamborghini’s work, among the TPC folders, one of them is open where a color photo of a famous political couple appears, printed roses are attached to the top cut out, and has the typed title: General Perón and Isabel (La Caótica). Perhaps the public will associate the misunderstanding with this Pampa that no longer allows jokes, and think: here in the present, My Law has arrived, the reincarnation of Isabel La Caótica, but without funeral pomp.
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