“I felt and affirmed that art was something much more important for the human being than that eternity to which only cults had access, framed in museums and galleries; for me it is a way to intensify life, to impact the contemplator, shaking it, taking it out of his inertia and rdquo ; lashed a young Marta Minujín in Paris in 1963 , in the pre-announcement of her later works in Buenos Aires with her fluffy 1964 mattresses, “Erotic in Multicolor” and “Revuélquélqué y viva” In few lines Minujín summarized a vital program that would be constant over six decades with international art “I chose mattresses because they are a vital material and age like us. They helped me to express my personality. I am what I do,” admitted who produced several pioneering demonstrations of ephemeral art in the country, amphibious at the crossroads of avant-garde of the last century and today. Since that year Minujín's works have always been an expansive anomaly of national myths and a democratic oxygen bubble . It was so with the “Electric Image” (1969), dictatorship of Onganía, it was so with “Obelisk of Pan Dulce” (1979), dictatorship of Videla. Not to mention “El Parthenón de libros” (1983), a hopeful prelude to Argentine democracy. He made his life an object-work, one thing would say his great friend Federico Peralta Ramos, and that is the projection of sesentist emancipation that can be traced today in the expressions of the Green Tarea. For Marta, her “art, art, art” would also be “to live, live, live”, without fears of failure, and with the courage of freedom . Put the Frac Asado de Marta, that with her we learned that in the newspaper they do not talk about you or me, and will proudly taste an alfajor in Mar del Plata signed by Minujín.
She was born on January 30, 1941, in the neighborhood of San Cristóbal and on the same plot that today has her workshop, within a well-off family, with a grandfather who manufactures work clothes — hence the coveralls that identified her since the seventies “ I was always the black sheep and the relegated” recalls the artist, who does not hesitate to describe her childhood as “horrible”, except the stays in San Martín de los Andes, who was riding on horseback since the age of three, and painted natural, “I could not stop, I thought Van Gogh” Begins studies at the School of Fine Arts Manuel Belgrano and a uacute; n adolescent, alternates with free classes in Pueyrredón and Cárcova higher schools, and at the Faculty of Philosophy and Letters “I want you to know me/I want you to tell me/everything sincere that death has”, verses dedicated to the “shocking” death of his brother, is the first written by Minujín, also of a vast writing production, including essays, letters to relevant critics and projects, and that activates a “creative drive” aimed at his first solo exhibition at the Teatro Agón, at the Teatro Agón. Influenced by the informalism of Alberto Greco, “poet, magician, painter”, the early sixties have her between Paris and Buenos Aires. In transit he creates the first jobs with mattresses, and destroying in a fire in 1963, that his first happening in Europe. In Buenos Aires his art is supported by Jorge Romero Brest and Rafael Squirru, popes of modernity in the sixties, and won the Di Tella Prize in 1964. With that money she finances “El Batacazo” (1965) and her first stay in New York, a city where she will travel regularly for a decade, being the spoiled artist of artists with the renown of Salvador Dalí and Andy Warhol.
“Do you want me to make her a happening? ”, the magazine Primera Plana portrays the first action of the artist in Argentina “La cabalgata”, and live on channel 7 in “La campana de cristal”, “Augusto Bonardo nodded and only began to be disturbed when Minujín groomed the fabric with his brush... from there ; the coven unleashed: the pony... threw bursts of paint on the audience, the chickens planted feathers in the studio... elastic bodybuilders broke balloons... Minujín improvised a Sioux dance and Bonardo vocifered: Cut! Cut! Get this crazy woman out of here! ” It was just a prelude to the most famous his happening, perhaps the best known, “ La Menesunda”, a work in conjunction with Rubén Santantonín (1919-1969) and several artists, and which was mounted at the Instituto Di Tella from 18 May to 6 June 1965. Three weeks were enough to revolutionize Argentine art and point to a moment in the decade, which transformed Buenos Aires into a lighthouse of the international avant-garde. As its title indicated, that lunfardo is “mix” or “confusion”, it was a mass invitation to participate as never before in an aesthetic phenomenon, without prejudice, without classes, and that summoned thousands of people to Florida Street “It was not an exhibition of imi... aacute; genes-symbols, not a spectacle, nor a happening, was art existing that prompted us to imagine on its own, because in the passage from one environment to another the surprise acted, being very different attitudes that the visitor should take before them. It seemed like a hobby, a humorous, and of course it was, but those who lent themselves to the game felt the mental modification characteristic of the work of art that operates,” said Romero Brest, director of visual arts at Di Tella, about this playful journey through conditioned spaces, a hairdresser or a couple's room live, and it included pictures, sensations and smells of a Buenos Aires walk, more precisely along Lavalle street. The national media mostly mocked or insulted, “crazy or morados” in the newspaper La Prensa, few supported, among them the relevant painter and artist Germaine Derbecq, and international media, “is surely the most faithful and sincere image that the new generation has in the world” in El País de Montevideo — which would change his mind by criticizing the next happening of Minujín in Uruguay, “Plastic Succeso” with the release from a helicopter of 500 live chickens, flour, lettuce, creams amid forcers, prostitutes, tramps, motorcyclists and obese couples, all at the Club Atletico Cerro Stadium and in fifteen minutes.
At this point is the definitive entry of Minujín, “the goddess of the Menesunda” or “the girl of the mattress”, into the media world, which would from there be the center of his reflections with “Simultaneity in simultaneity” or “The Minuphone” Also his conversion into a public figure, its transformation in her life into a subject/object, which kept her away from other artists, Santantonín case, who sought existential or concrete political responses in the hectic sixties. Minujín became on the cover of magazines, “I think it is an intensification... I use the power of the media as an instrument of invasion of people's homes, but through something positive that is art... I think everyone is an artist, because everyone is a creative person,” he said. the artist praises journalist Daniel Molina in 2015.