MACBA - Museum of Contemporary Art in Buenos Aires — Attraction in Autonomous City of Buenos Aires

MACBA's mission is to acquire, conserve, research, document, communicate and exhibit national and international contemporary art. Non-formal education through art is one of its main purposes. Through the exhibition of artistic contents (objects and stories), he hopes to stimulate the development of creativity in artists and the different publics of the city of Buenos Aires and the country, and deepen the knowledge of Argentine art abroad.

The MACBA is proposed as a forum for reflection and access to the different tendencies of contemporary art and, in particular, to geometric abstraction, given its local and global historical importance. This trend that marks the profile of your collection will be your main object of study and research.

Education for art and social inclusion is objective in the short and long term. For such purposes, he plans to work in permanent contact with public institutions and non-governmental organizations that identify with their values. Aldo Rubino began collecting at the end of the 80s. Over the years, a profile was defined based on local and international contemporary art with special emphasis on geometric abstraction. However, the expansion into other languages ​​is planned as part of the dynamism of any collection. Indeed, the MACBA considers its collection as a social capital that accounts for the appreciation that historically Argentine collecting had and has for international art. The public exhibition of this collection highlights the cosmopolitan character that Buenos Aires displayed from its colonial roots.

The importance of geometric abstraction in Argentina, justifies the existence of a collection that aims to historicize, enhance and contextualize it. Currently, the museum has works of the most representative tendencies of international geometry. Of the historical ones of the concrete Argentine art: Enio Iommi (1926), Gyula Kosice (1924), and Raúl Lozza (1911-2008). From later generations in the sixties and seventies, Ary Brizzi (1930), Rogelio Polesello (1939) and Alejandro Puente (1933), representatives of optical art, and "sensible geometry", respectively. His European contemporaries, the Italians of the Arte Programmata, Toni Costa (1935), Alberto Biasi (1937) and Dadamaino (1930-2004), together with the German group Zero with works by Mack Heinz (1931), and Walter Leblanc (1932-1986) ,

Of the different American schools, the denominated geometry of net edges or hard edge is represented by Californian artists like Lorser Feitelson (1898-1978), Frederick Hammersley (1919-2009), and Karl Benjamin (1925). While Leon Polk Smith (1906-1996), Ilya Bolotowsky (1907-1981) and Tadasky (1935) stand out from the School of New York.

The collection also features prominent post-concrete Brazilian artists, such as Lothar Charoux (1912-1987), Almir da Silva Mavignier (1925), João José Costa da Silva (1931), and the contemporary miner Marcos Coelho Benjamim (1952).

Among the contemporary Argentine works by Pablo Siquier (1961), Guillermo Kuitca (1961) and Karina Peisajovich (1966) stand out in the...

What an absolute disaster. When paying I noticed a sign saying "30% off when you bring a ticket from another museum". When I asked about this (in Spanish) the lady's response was "pero..... No". Clearly too lazy to explain (in her native language) or God forbid: honor the deal.

If you can get past this incredible rudeness, you'll be greeted with 4 small rooms of cliché screen prints that you can see in any gallery anywhere in the world, whilst paying 3 times the price of the Museum of Modern Art (next door, twice as good) or MALBA (at least 10x better).

Rudest staff and worst museum ever encountered.

Simply do not waste your...

Me encanta el arte, amo el arte, amo dibujar y amo la evolución del arte a través de la historia, desde las pinturas rupestres, o los cuadros del renacimiento, el romanticismo, el barroco, el estilo gótico arquitectónico de las catedrales, o arte contemporáneo abstracto. Tal vez, las pinturas o esculturas no tengan palabra alguna para comunicar, Pero si emociones para transmitir...

Y la visita que hice a este museo hizo que me replantear lo que si es arte y si vale la pena.

Para empezar, el boleto es razonable, hasta que entras y notas los cuadros y las pocas obras que exponen, el hecho de que, el lugar se sienta vacío y poco iluminado. Cuadros y exposiciones que son muy pocas.

En general, el boleto es caro para ser una exposición tan corta y vacía. Sin alma.

Adjunto algunas de las fotos de esta exposición.

No digo que no me gusten las obras y no desmerezco a los artistas, de hecho,e gusta ver cuadros nuevos, abren la mente y son un buen ejercicio, solo que, ver esto me hace odiar el precio del boleto.

Recomendación: Si SOS un fan del arte más abstracto, las ilusiones ópticas o el geometrismo contemporáneo, podés ir a este lugar y entrar satisfecho.

Si te gusta el arte simbólico figurativo, o los autorretratos, las pinturas al oleo del renacimiento, lo vanguardista, el romanticismo y con más "forma". NO VAYAS.

PD: Le calificaría 1 sola estrella, Pero como la atención es razonablemente decente y que el lugar este limpio, sin polvo ni sucio, le doy...