Despite difficult times for public education in Argentina, UNTREF today displays a second exhibition of the art collection that it has been forming in the course of these last years.

This collection is another way that our University has to continue with its task of bringing art and culture of the highest level to different parts of our country.

In this opportunity we chose to show in “Collection Evita”, on the occasion of the hundredth anniversary her birth, pieces that integrate our collection intertwined with others from private collections.

Let this be yet another form of homage to who was the architect of the recovery of the dignity of millions of Argentineans and who continues today to be a lighthouse illuminating those of us who want to build an Argentina that can house all its inhabitants and those who choose our country to develop their lives and their dreams in a dignified way. 

I thank Diana Wechsler, Marina Aguerre, Juan Manuel Quesada and all the staff of our university for their work and dedication to this exhibition.

Aníbal Jozami

Rector UNTREF

Director General MUNTREF

Collection Evita

As a prologue, a giant Descamisado, by Daniel Santoro, welcomes the public and places it in the imaginary of early Peronism. Like a flash back, it is followed -in the recordings of Victor Rebuffo- by a series of rural and urban workers in strike who replenish the socio-political scene of the thirties. Afterwards, the photographs of Annemarie Heinrich’s industrial work place us in the 1940s.

Finally, We Are All Evita, by Elda Harrington, takes up a historical photo of Eva Perón in front of a crowd, intervenes it and turns each of those subjects into Evas with white scarves on their head.

In the room, paintings, photographs, objects and installations focus on Evita’s saga and unfold before the spectator different glances in the works of Carolina Antoniadis, Nora Aslan, Fabiana Barreda, Luis Benedit, Mercedes Estévez, Patricia Hakim, Andrea Juan, Alicia Messing, Marina Olmi, Lucrecia Orloff, Marina Papadopoulos, Manuela Rasjido, Daniel Santoro, Mariana Schapiro, Eugenia Streb and Zulema Maza.

The pieces offer a rich and varied panorama that allows numerous approaches to this singular woman. At the same time, they give us the opportunity to reread, from her, not only the times in which Peronism was founded, but also the symbolic marks that she left in the memory of our society.

Marina Papadopoulos

The door      

20013

Oxidized iron, cut and bent

74 x 74 x 40 cm + pedestal 74 x 40 x 110 cm.

 

Nora Aslan    

Zapatito (Little shoe)

2003

Sculpture in iron, feathers and canvas

19 x 33 x 52 cm.

 

Fabiana Barreda      

Habitat Project

1997

Acrylic Photography and Models

22,3 x 14 x 14 cm.

 

Mercedes Esteves   

Avoid, rite and myth

2003

Installation

80 x 120 cm.  (work on wall) + 65 x 80 cm. (floor box with sand)

 

Patricia Hakim           

Untitled

2003

Mixed technique, printing on plastic die

55 x 35 cm.

 

Zulema Maza

Icons

2002

Intervened photography

60 x 60 cm.

 

Alicia Messing

Farewell

2002

Oil on canvas

100 x 120 cm.

 

Mariana Schapiro     

August pain

2002

Sculpture (iron and wood veneer)

104 x 90 x 8 cm.

 

 

Genia Streb  

Cara Evita

2003

Oil on canvas

25 x 110 cm.

 

Elda Harrington        

We are all Evita

2003

Photography. Digital retouching

69 x 57 cm.

 

Lucrecia Orloff         

Untitled

2003

Xylography

63 x 87 cm.

 

Carolina Antoniadis  

I cry for myself

2002/2003

Gold on porcelain

30 x 30 cm.

 

Andrea Juan 

Evita lives

2002

Digital, mounted and mirror photography

80 x 80 cm.

 

Handle Rasjido      

The illusion of the humble

2002

Manually superimposed and embroidered loom fabrics

90 x 150 cm.

 

Anne-Marie Heinrich

Workers

1960

Photography

62 x 52 cm.

 

Anne-Marie Heinrich

Zapla Blast Furnaces

Photography

1945

62 x 52 cm.

 

Anne-Marie Heinrich

Scaffolding

1950

Photography

62 x 52 cm.

 

Daniel Santoro         

Giant Shirtless Head

2009

Charcoal

117 x 147 cm.

 

Victor Rebuffo          

Gleaner

1946

Xylography

25 x 26 cm.

 

Victor Rebuffo          

Labrador of the summits

1949

Xylography

32 x 30 cm.

 

Victor Rebuffo          

The Rebellion

1953

Xylography

43 x 33 cm.

 

Victor Rebuffo          

Manifestation

1953/1957

Drawing

5,7 x 9 cm.

 

Victor Rebuffo          

Men and steps

1953/1957

Drawing

6 x 9.2 cm.

 

Victor Rebuffo          

Repression

1953/1957

Drawing

7 x 3,4 cm.

Marina Olmi  

Domingo, gnocchi for all, from the series “El humor alarga la mirada de la inteligencia” (Humour lengthens the gaze of intelligence).

2011

Acrylic and oil on canvas

60 x 90 cm.

 

Marina Olmi  

Socorro (Help) , from the series “El humor alarga la mirada de la inteligencia”.

Acrylic and oil on canvas

50 x 70 cm.