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“Yuyo” Noah defines himself as an artist who understands himself with chaos, with everything that is part of life itself. We tell you about his life and work.
Luis Felipe “Yuyo” Noé (Buenos Aires, 1933) as an artist and theorist meant the renewal of Argentine art from the middle of the last century, either with his participation in the influential group of The New Figuration (Ernesto Deira, Rómulo Macció, Jorge de la Vega and Noah), or with the persistent work and writings after an aesthetic that questions both the ideological system and the artcircuit itself, from museums to critics and spectators.
In the heat of the informalisms of the 1950s, he began an artistic search that was revealed in 1961 in the Federal Series, a risky re-reading of the civil wars of Argentina's nineteenth century. Those years of learning, in the country and other capitals of the world, culminated in a first stage with “Noé + collective experience” at the Museum of Modern Art under the famous phrase “I believe in the chaos as a structure.”
After years of estrangement, he returns to the painting of the mid-seventies with “Conquests and destruction of nature.” Exiled in France after the military coup, he was reinstated in 1987 after a historic exhibition at the São Paulo Biennale. He has made more than 70 solo exhibitions in Argentina, Europe and North America, being an artist to whom the National Museum of Fine Arts has dedicated several solo exhibitions: the first Argentine Museum holds the seminal “Introduction to Hope” (1963).
His works are also found in the public museums of the City of Buenos Aires, “Aso nos va” (1997), First Prize Salón Manuel Belgrano, Museo Sívori; and “Institutionalization” (1994), the Museum of Modern Art, among others, in addition to various national, international and private museums. Among the awards obtained is the Grand Prize of Honor of the National Fund of the Arts of the Argentine Republic (1997). “Chaos does not exist, what happens is that we call chaos something that we lack modules to understand”, says one of the living masters of several generations of Argentine artists.
“ To say, as we say today, that art has died is to affirm that we are dead in our dimension of being a soundboard of those around us. Now that they talk about that art died is when we most need in their active exercise... the emergence of the
Publication Date: 28/05/2020
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