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Ruta 27  Mutualidad de Propietarios y Chóferes de la Ruta 27, Gigante Mixcoac, Ciudad Deportiva y Ramales A.C. Paradero Central de A...

Centro rehabilitación MUPAG en Madrid Fecha: 1969 Dirección: Madre de Dios 42-44 y Maestro Chapí 25 – Estado: – Accesibilidad: Otros: Edificio para centro de rehabilitación para la Mutualidad de Papel, Prensa y Artes Gráficas en las calles Madre de Dios 42-44 y Maestro Chapí...

Delesio Antonio Berni (14 May 1905 – 13 October 1981) was an Argentine figurative artist. He is associated with the movement known as Nuevo Realismo ("New Realism"), an Argentine extension of social realism. His work, including a series of Juanito Laguna collages depicting poverty and the effects of industrialization in Buenos Aires, has been exhibited around the world. Berni was born in the city of Rosario on 14 May 1905. In 1914 Berni became the apprentice of Catalan craftsman N. Bruxadera at the Buxadera and Co. stained glass company. He later studied painting at the Rosario Catalá Center, where he was described as a child prodigy. In 1920 seventeen of his oil paintings were exhibited at the Salon Mari. On 4 November 1923, his impressionist landscapes were praised by critics in the daily newspapers La Nación and La Prensa. The Jockey Club of Rosario awarded Berni a scholarship to study in Europe in 1925. He chose to visit Spain, as Spanish painting was in vogue, particularly the art of Joaquín Sorolla, Ignacio Zuloaga, Camarasa Anglada, and Julio Romero de Torres. But after visiting Madrid, Toledo, Segovia, Granada, Córdoba, and Seville he settled in Paris where fellow Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were working. He attended "City of Lights" workshops given by André Lhote and Othon Friesz at Académie de la Grande Chaumière. Berni painted two landscapes of Arcueil, Paisaje de París (Landscape of Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The House of Crime), Desnudo (Nude), and Naturaleza muerta con guitarra (Still Life with Guitar). He went back to Rosario for a few months but returned to Paris in 1927 with a grant from the Province of Santa Fe. Studying the work of Giorgio de Chirico and René Magritte, Berni became interested in Surrealism. His late 1920s and early 1930s surrealist works include La Torre Eiffel en la Pampa (The Eiffel Tower in Pampa), La siesta y su sueño (The Nap and its Dream), and La muerte acecha en cada esquina (Death Lurks Around Every Corner). Studied Marxist theory of Henri Lefebvre, who introduced him to the Communist poet Louis Aragon in 1928. In 1931 Berni returned to Rosario, where he briefly lived on a farm and was then hired as a municipal employee. He witnessed labor demonstrations and the miserable effects of unemployment and was shocked by the news of a military coup d'état in Buenos Aires. Surrealism didn't convey the frustration or hopelessness of the Argentine people. Berni organized Mutualidad de Estudiantes y Artistas and became a member of the local Communist party. Berni met Mexican artist David Alfaro Siqueiros who had been painting large-scale political murals on public buildings. The development of a proletarian art." In 1933 Berni, Siqueiros, Spilimbergo, Juan Carlos Castagnino and Enrique Lázaro created the mural Ejercicio Plástico (Plastic Exercise).His popular Nuevo Realismo paintings include Desocupados (The Unemployed) and Manifestación (Manifestation). In 1941, at the request of the Comisión Nacional de Cultura, Berni traveled to Bolivia, Ecuador, Peru, and Colombia to study pre-Columbian art. His painting Mercado indígena (Indian Market) is based on the photos he took during this trip. Two years later, he was awarded an Honorary Grand Prix at the Salón Nacional and co-founded a mural workshop with fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro. Political paintings including Masacre (Massacre) and El Obrero Muerto (The Dead Worker). From 1951 to 1953, Berni lived in Santiago del Estero. "Motivos santiagueños" and "Chaco." In the 1950s he returned to expressionism with works like Los hacheros (Axemen) and La comida (Food). Villa Piolín (Villa Tweety). La casa del sastre (House of Taylor). La iglesia (The Church). El tanque blanco (White Tank). La calle (Street). La res (The Answer). Carnicería (Carnage). La luna y su eco (The Moon and its Echo). Mañana helada en el páramo desierto (Morning Frost on the Moor). Negro y blanco (Black and White), Utensilios de cocina sobre un muro celeste (Cookware on a Blue Wall). El caballito (The Pony). Art critic and friend Rafael Squirru, Director Of Culture of the Argentine Foreign Relations Ministry (1960) during the government of Arturo Frondizi, sent Berni's engravings to the Venice Biennale, where they obtained First Prize in their category. Berni's post-1950s work can be viewed as "a synthesis of Pop Art and Social realism." In 1958, he began collecting and collaging discarded material to create a series of works featuring a character named Juanito Laguna. The series became a social narrative on industrialization and poverty and pointed out the extreme disparities existing between the wealthy Argentine aristocracy and the "Juanitos” of the slums. After the March 1976 coup, which was like others in Latin America supported by the United States,] Berni moved to New York City, where he continued painting, engraving, collating, and exhibiting. New York struck him as luxurious, consumerist, materially wealthy, and spiritually poor.