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#Epic | FEATS OF ARGENTINA DESIGN 1970-1980 - Part 2

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Epic: Feats of Argentine Design is a multi-format, curatorial program aimed at reviewing a century of history based on the IDA Foundation collection and other related archives. The chapter “1970-1980”, marked by the turbulent narratives behind several coup d’etats and the return to democracy, examines post-modern phenomena that influenced diverse design expressions, the effect of academic approaches, and the cultural management that boomed from the capital city. 

#EpicAnniversary | Falklands War + Return to Democracy
On April 2, 1982, during the de facto government General Leopoldo F. Galtieri, “Operation Rosario” was carried out with the aim of recovering the Falkland Islands, usurped by Great Britain since 1833. Failure to reach a diplomatic agreement with Prime Minister Margaret Thatcher led to the outburst of the Falklands War. Armies from both countries fought. Battles and bombing operations were carried out at sea, land, and air resulting in the death of 649 Argentine soldiers, 255 English soldiers, and 3 civilians from the islands. During the conflict, local media conveyed biased information that flared up thoughtless nationalism. Argentine troops were sent without resources, however, while they faced defeat, magazines published headlines like: “We are Winning!” (Gente) and “Argentinazo: We have recovered the Falkland Islands!” (Crónica). Other mass media used technical information in their reports, for example, cartographer Alejandro Malofiej produced maps and documentary-style  infographics for the journal Tiempo Argentino. Journalist Fernando Rubio covered the war development for the Spanish newspaper ABC and often added infographic-style illustrations to his reports.

The conflict ended on June 14, 1982 with Argentina’s surrender. The next day, Galtieri gave the news in a public event at the Plaza de Mayo, thus igniting the crisis of the military regime. Until today, the “Falkland Islands” are still occupied by Great Britain and used as a strategic location in relation to the South Pole and Antarctica. The crisis of the military regime led to new elections, which took place on October 30, 1983. The Radical Civic Union (UCR) won with the pairing of candidates Raúl Alfonsín (president) and Victor Martinez (vice president). All over the country, people celebrated massively on the streets the organization of  free elections, the end of 8 years of dictatorship, and the restoration of democracy. 

Three days after his inauguration (December 10, 1983), Alfonsín decreed, in an unprecedented action, the trial of the members of previous three military governments. He also ordered the creation of the CONADEP, a commission in charge of investigating the crimes against humanity perpetrated during the dictatorship. The presidential campaign of the UCR was developed by the agency David Ratto Publicidad, based on the slogan “Now Alfonsín. The man we need”. The candidate’s brand was designed by Guillermo González Ruiz,  whose acronym, “RA” was associated with the initials of the Argentine Republic. Afterwards, González Ruiz conceived several official symbols used for national plans and public signage systems, among other communication projects. That historical period, known as the “democratic spring”, was defined by the freedom of expression, the restoration of the rule of law, and the end of intervention in public organisms. 

#EpicContext | Cultural Management and Design
 The emergence of cultural managers invigorated the design scene within institutions and exhibition venues. Jorge Glusberg (Buenos Aires, 1933 - 2012), curator, critic, and the businessman who led the firm Modulor, played a fundamental role in the promotion of architecture, art, design, and technology. In 1968, he founded in Buenos Aires the CEAC (Art and Communication Study Center), which a year later was renamed as CAyC (Art and Communication Center). He directed the center until his death in 2012. The experimental and interdisciplinary institution was unprecedented due to its collective identity and because it had different departments, including a School of Higher Studies that helped project Argentine avant-garde movements on an international scale. In 1970, the center opened its headquarters at downtown Buenos Aires (452 Viamonte Street), where multiple activities, led by the political activism of the director, took place. During its golden age throughout the 1970’s and 80’s, the center stood out for its regional approach and originality, particularly in video art production, performance, public art, technological and electronic art, graphic design, and industrial design. The center gave birth to the Group of the Thirteen (1971), later known as the CAyC Group (1975), which acquired international acclaim.

At the same time, the CAyC created a Design Department (1975) directed by the architect Carlos Sallaberry. The department focused on graphic and industrial manifestations, as well as on textile design. It had a board of directors composed by Ricardo Blanco, Norberto Cóppola, Hugo Kogan, Mario Mariño, Arturo Montagú, Roberto Nápoli, and Ricardo Samsó. Among the promotional strategies they conceived were the Cubo Contemporánea Awards (1976/77) and the Silver Pencil (since 1982); as well as the design contests Buró Award “The president’s desk”” (1985) and Flamia Award. Object-House Design (AICA, 1985). The department also sponsored several academic encounters like the International Design Colloquium (1980) and the Critique Conferences (1981; 1983). At that point, Argentine design acquired international recognition for the first time by promoting local creations connected to the fields of theory and education in events such as the ICSID in Mexico (1979), ICSID in Brussels (1980), “Made in Argentina” in Finland (1981), ICSID in Milán (1984), and Brazil (1984). The architecture department —constituted by Jorge Aslan, Diego Forero, Jorge Angel Roca, Gerardo Schon, Alberto Varas— organized training workshops, academic encounters, and exhibitions. It also sent pieces abroad to participate in events like “Architecture in Argentina”, Brazil/Argentina (1983); and “Architectes argentins” at  L'Institut français d'architecture, Paris (1988). To celebrate the 10th anniversary of the Design Department, the event Bienal de Diseño BA/85 (1985) was organized and showcased in the halls of the institution and the Buenos Aires City Center. The biennial included symposiums, an international exhibition, and the “Silver Pencil” Awards, which were granted, by an international jury, to 9 representatives of Latin American and Argentine design. From 1987 to 2019, the Bienal de Arquitectura, one of the three most renowned biennials, was also organized by the department.
 
Architect and art patron, Osvaldo Giesso transformed the design landscape in the south of Buenos Aires City. In the late 1960’s, he moved to an old mansion about to be demolished in San Telmo (360 Cochabamba street) and, there, he created the mythical Espacio Giesso: house, gallery, and cultural center. In 1971, he co-founded the “San Telmo Theatre”. The house became a forum for workshops, exhibitions, and design and fashion spaces. It also hosted collective exhibitions that invited architects and designers to exercise their creativity without the restraints imposed by enterprises and production. “DesignNow” (1981), “Toad and Trick” (1982) were two of the events that kept active and alive imagination during an era of cultural repression. When democracy was restored, Giesso was invited to direct the Buenos Aires City Center, today known as the Recoleta Cultural Center, a task he performed from 1983 to 1989. He turned a senior home into a territory of experiences, celebrations, visual arts, performance, art installations, and the venue that hosted the Young Art Biennial. Expomarca Lationamericana (1984), La silla (1984), and El Nuevo diseño (1985) are some of the many emblematic design exhibitions he organized there.

#EpicContext | FADU
Through his policies, Alfonsín restored the academic autonomy in universities, which led to the creation of (pending) Design programs, beginning in 1985, in the University of Buenos Aires (FADU, UBA). At that point, a second stage in the evolution of design as an academic discipline began; one that followed the creation of design programs in universities throughout the country during the 1960’s. Under the lead of the dean, Arch. Berardo Dujovne, and the coordination of Carlos Sallaberry, several university committees produced the curricular plan for the Graphic Design and Industrial Design programs. The architects Ricardo Blanco, Roberto Doberti, Arnoldo Gaite, Guillermo González Ruiz, Reinaldo Leiro, and Carlos Méndez Mosquera, alongside the designers Julio Colmenero and Hugo Kogan participated in this endeavor. Tomás Maldonado provided guidance in the curricular development process and Gastón Breyer contributed with ideas related to heuristics. The written Project was approved in March 1985 and the FAU was officially renamed as FADU. The Graphic Design department was directed by professor González Ruiz and constituted by Eduardo Cánovas, Rubén Fontana, Méndez Mosquera, Alfredo Saavedra, and Ronald Shakespear. The study program, which included subjects like Graphic Design, Typography, Morphology, and humanities courses, aimed at catering to national circumstances by focusing on social communication with the goal of training professional designers who were well prepared to incorporate design into urban and public spaces. The Industrial Design department was directed by Blanco for more than 20 years, who contributed to the formation of such renowned professors as Colmenero, Kogan and Leiró. The discipline, required to boost the Argentine industry, aspired to plan and develop products manufactured through handicraft-industrial methods that would enhance  functionality, aesthetic, and cultural signifiers. Both programs originated a solid architecture teaching matrix. Massive enrollment proved the relevance of such academic programs in the Buenos Aires-based public university. 

The Image and Sound Design program was created in 1989 with the aim of enhancing the professional practice of activities related to film production, still images, sound, audiovisual media, TV, video, and, later, new digital media. The project linked the schools of Philosophy and Letters, Social Sciences (where related courses were already taught), and the FADU, which contributed with its experience in such topics as design, drawing, vision, morphology, and other specialties. The faculty was constituted by the director and professor Simon Feldman, Mariana Gastellu, who acted as academic coordinator, and Víctor Bossero, Miguel Ángel Canonne, Silvio Fischbein, Flora Manteola, and Graciela Raponi. The same year, the Garment and Textile Design area was created with a social profile and a productive orientation. The project was influenced by the strong impact caused by the fashion shows presented at the Buenos Aires Young Art Biennial. Some of its first professors were the textile artist Rosa Skific and Andrea Saltzman, who provided a rupture and experimental perspective based on semiotics and design communication. Susana Saulquin, who was a member of the committee that created the program, integrated a sociological approach connected to the fashion phenomenon based on her impressive documentary research about its historical development in Argentina. These ideas promoted a cultural and social understanding of clothing, the professionalization of the craft, and a connection with companies and manufacturing hubs.  

#EpicContext | Mass Migration. Chapter 2: Italy
While Spain received many of the professional creators that escaped from the turbulent social and economic situation that prevailed during the 1970’s, Italy was the immigration destination chosen by Argentinian trained experts throughout the 80’s. The mark they made in Italy was displayed at the exhibition Pasaje de ida, presented in Villeurbanne (France) and, later, in 1992, in Milán 1992. The exhibition gathered the creations of Argentine designers Jorge Arcuri, Silvia Centeleghe, Cecilia Flegenheimer, Rubén Mochi, Roberto Nápoli and Alejandro Ruiz; as well as designs produced by Brazilian, Colombian, and Venezuelan professionals. The catalogue Aller Simple: le design latino-américain à Milan (1992) included a prologue by Italian designer Roberto Sambonet. Arcuri and Nápoli, specialized in product design defined by technical-formal resolutions. Arcuri, an industrial designer, moved to Europe during the 1980’s with the aim of developing mechanical products such as motorcycles, cars, tractors, cranes, boats, and motors for companies like Caterpillar, Fiat-Hitachi, Guzzi, Kardis, Lombardini, Nissan, Mazda, Rivolta, Triadesign, Sacs, and Same. His product “Usag”,designed for the health system, was awarded an honorable mention at the XVII Compasso D´Oro (1995). Nápoli, an architect and industrial designer with 15 years of experience in the field, migrated to Milan in the mid 80’s to open his own studio, Prodesign. He specialized in the design of electric devices for home and medical environments and computing products for global companies. He received two Compasso D´Oro accolades (1987) for an electric industrial heater and a domestic manual fruit squeezer.  

Centeleghe, an UNLP alumnae, where she also studied a Specialization in ADI-ISIA Design (1982), later obtained a Masters in Design at the Domus Academy (1984). During his stay in Milan (1982 - 1997), she assimilated trends from the most climatic era of Italian design. She participated in the Driade lab project and worked for companies like Memphis, Olivetti, Palmisano, Lorenz, and Lousiana Museum. At that time, she designed and collaborated with several firms in Mendoza and Spain, expanding her area of expertise to the fields of graphic design, packaging, multimedia campaigns, and exhibition curatorships. María Sánchez, industrial designer who studied at the UNCuyo, was granted a scholarship in 1980 to study a specialization program at the Vienna Applied Arts University. Once established in Milan, in 1982, she studied under Ettore Sottsass and worked as his personal assistant until 1988, managing both his clients and the technical production of jewelry, objects, furniture, and indoor equipment for homes, offices, and exhibitions. For 15 years, she worked in Italy and the United States, where she specialized in developing strategic design projects for several companies renowned worldwide. Ruiz studied industrial design at the UNLP and moved to Milan in the late 1980’s to study a graduate program in Design at the Domus Academy. He collaborated with Alchimia studio and Gregotti Associati, before opening his own firm, specializing in product design. He designed the cheese grater “Parmenide” for the company Alessi; that piece is now part of the MoMA design collection (New York). 

After a stay in Germany, Tomás Maldonado conquered Milan. He was a professor at the University of Bologna (1971-1979) and the Polytechnic University of Milan (1984-1997). Between 1977 and 1981, he was also the director of the architecture magazine Casabella. His friend, Hungarian designer Tomás Gonda, also settled in Milan, where he led the design team Rinascente-Upi (1967-1971); worked as an advisor for Pirelly (1972-1977); and produced the graphic design of Casabella magazine alongside Pierluigi Cerri.

#EpicFeatured | Containers and new consumer practices
In an increasingly visual world, packaging has become essential to promote and identify consumer products. Some designers have specialized in that area to help boost brands, sometimes enhancing the real features of certain items. The Studio L&R - Design and Communication was created in 1978 by Eduardo López (Buenos Aires, 1947 - 2021) and Héctor Romero (Buenos Aires, 1937 - 2020) offering services related to corporate visual identity and packaging projects. The associates worked for food and beverage companies, like Dos Anclas, Bagley, Helado Royal, and Chocolate Águila, among others. They design corporate images based on line differentiation and the specific identity of each product, which included positioning them within their selling venues. Their designs won international awards (Clio Awards Finalist) and appeared in yearbooks published in Germany, Japan, and Switzerland. The partners’ work was also showcased in national museums and institutions —Modern Art Museum, Contemporary Art Museum, City of Buenos Aires Cultural Center, CAyC — and abroad, for example, in the ICOGRADA Congress and in Finland. López and Romero were also founding members and directors of the ADG, during the 1984/86 period. They also stood out as professors, teaching specialized seminars at such universities as the UBA, UNCuyo, and UNLP.

Another relevant creator in that area of the discipline is Ángela Vassallo (Buenos Aires, 1938), one of the few women designers specialized in brand design. She began her professional career as in several publicity agencies —Ricardo De Luca, Cícero and Gowland— and she worked in her early stages with Frank Memelsdorff and Juan Carlos Distéfano. After a decade of designing wallpapers for Carpenter, she founded her own studio, Vasallo, in 1982, a venture that turned her into an icon of brand and packaging design within Argentine food, energetic, and editorial sectors. Her projects stood out due to their synthesis, visual appeal, and a crafty use of fonts. She designed for brands like Fargo, Mantecol, Menoyo, Maicena, Savora, Dos hermanos Flynn Paff, Gallo., summa +. She was a finalist in several award contests, such as the London International Advertising Awards (LIA), and she was acknowledged by the Círculo de Creativos Argentinos (CCA). She has led the multi-functional office Mix Vassallo since 2010. As a manager, she directed the ADG, where she boosted design through the development of community projects and cultural strategies aimed at reaching wide audiences.

#EpicFeatured | Ricardo Blanco
Trained as an architect, Ricardo Blanco (Buenos Aires, 1940-2017) became a complete designer that also performed as a cultural manager and a teacher. He played a crucial role in the consolidation and education of the discipline at a regional level. His unique, personal style as an author made the furniture -mostly chairs- and diverse items he designed stand out. He produced designs for such firms as Stilka, Indumar, Venier, CML Materfer, Storage, Exedra, Thonet, El Espartano, and Interieur Forma. Some of his most renowned projects in the public sector are the equipment he designed for  the Plan 60 Schools (1976-1982) –co-created with the CEPAD–, for the public hospitals Argerich and Fernández (1980), and for the National Library (1992). As part of a collective interaction, in 1983 he founded Visiva, alongside Hugo Kogan and Reinaldo Leiro, with the goal of designing, producing, and commercializing furniture and objects of Italian style. He was an Industrial Design professor at the National University of Cuyo and  the National University of La Plata —where he coordinated in 1980 the GRUP80 constituted by students and alumni—. He co-founded the Design program within the School of Architecture, Design, and Urbanism of the University of Buenos Aires and directed it for 20 years. He also created the post-graduate program in furniture design (DiMo) at that university. He collaborated in the creation of the design program in the universities of Córdoba and Mar del Plata. His understanding and research about the discipline gave birth to such publications as Sillopatía (Editorial Argentina, 2003), Diseño industrial argentino (Franz Viegener, 2011), La silla, ese objeto del diseño (Nobuko, 2013), Ricardo Blanco diseñador (Franz Viegener, 2015), and Diseño otro (Ricardo Blanco, 2017). He was acknowledged by the CIDI and the CAyC, and, in 2002, he received the Konex Platinum Award.

As part of his promotion and management endeavors, in the late 70’s, he created and joined the design commission at the CAyC. In the early 80’s, he collaborated with Studio Giesso in the organization of several collective programs, for which he created graphic proposals, games, and objects. He performed different roles in the development of exhibitions showcased at the City of Buenos Aires Cultural Center during Giesso’s term as director. Among other activities he co-curated the exhibitions La silla (1984), alongside Eduardo Naso and Ronald Shakespear, and Expomarca Lationamericana, primer muestra del diseño de marcas y signos (1984), alongside Jorge Glusberg and Shakespear; he also wrote a piece for the publication El Nuevo Diseño (1985). His work was shown in the design exhibition Cielorrasos no rasos (1986) at Cemento discotheque. In 1995, at the Buenos Aires Modern Art Museum, he organized and curated the first Permanent Collection of Argentine Design.

#EpicFeatured | Tipográfica Magazine
Tipográfica magazine (1987 - 2007) was an emblematic independent publication in Argentina and Latin America. It was conceived and founded by Rubén Fontana. In its early days it was co-directed by Roberto Alvarado and successively with María Teresa Bruno and Marta Almeida as editorial secretaries. It was curated by Juan Andralis and written by Zalma Jalluf. The magazine, specialized in typography and design, launched 74 issues during 20 years of uninterrupted publication and was sold both in specialized bookstores and through mail subscriptions in different countries in America, Europe, and Asia. In its first issues, it analyzed the teaching of design by sharing the experiences of professors, students, and directors. The publication included notes from the editor, critical texts written by researchers and designers, interviews with contemporary experts, bibliographic, and calendar of events. It included texts by semiologists, historians, and typographers such as Martin Solomon, Hermann Zapt, Adrian Frutiger, and Steven Heller, among many others.
SInce 1995, it has used its very own font (Fontana tpG) and it evolved in terms of binding by incorporating color to its prints and spine. Through content production and the organization of academic meetings as a way to celebrate its anniversaries, it promoted the conception of typography as an area of study. It also sponsored touring exhibitions about typographic design, such as the 2004 and 2006 “Latin Letters” Biennials, which reached a wide audience. The magazine survived several economic and political crises experienced in Argentina until its last issue, Nº 74, in 2007.

#EpicFeatured | Marta Elena Cortés Álvarez
Self-taught artist and designer Marta Elena Cortés Álvarez (La Rioja, 1946), an unknown creator in her time, uniquely merged art, graphic design, and industrial design. After finishing her studies in Literature at the UCA (Buenos Aires), she moved to Córdoba, where she graduated as a Higher Studies Professor in Plastic Arts (1975) from the School of Fine Arts at the UNC. She presented her work in exhibitions showcased in her home province and in Córdoba, at the  “Dr. Genaro Perez” Municipal Fine Arts Museum (1971) and at the Emilio A. Caraffa Museum (1977), where she combined objects and materials such as sheets, hinges, synthetic enamel, line-X, and acrylic. She participated in the exhibition “Isopor & Art. 27 sculptures”, shown at the municipal museum, a project that promoted a connection between art and industry. Simultaneously, she also designed children’s games, theatre sets, stands for book and crafts fairs, commercial window displays, among other items that combined creativity and handcrafted solutions. She moved to Paris in the late 70 's with her partner, the editor and writer Miguel Bravo Tedin. There, she designed several carénage models for motorcycles for the French branch of Honda (established in France in 1964). These designs stood out for their design and precision, defined by her choice of using the “Double skin” technique, with two casts for the cases. Her contribution in terms of designing an aerodynamic shape and solving the transference from a technical to an ergonomic design earned her the acknowledgement of the car industry and turned her into one of the few women active in that field. With the aim of avoiding gender-related unequal treatment, she signed all her creations with the acronym MECA. Soon after presenting her work it was widely copied and it was even used indirectly in the design of the motorcycles used by the Paris police. She returned to Argentina in the late 80’s. She focused on graphic design projects, developing brands and campaigns for clients like the La Rioja newspaper “El Sol”. She participated in the creation of the Graphic Design and Popular Arts programs linked to the School of Higher Studies in Design of La Rioja (1996) and, later, joined the program as a professor. She founded the Publishing House Canguro, where she took charge of the editorial design. This research was made in collaboration with La Rioja native Hugo Albrieu; it is part of his local art collection.

#EpicFeatured | Young Art Biennial Buenos Aires
The 1st Young Art Biennial Buenos Aires took place between March 10 and 20, 1989, in 3 different venues throughout the capital city: what is now known as the Recoleta Cultural Center, the Palais de Glace and the amphitheatre San Martín de Tours; besides, a pedestrian bridge was built to enable movement between the locations. The event was organized during the “democratic spring” by the Buenos Aires Municipality. The Biennial became a party that overtook the entire city and received a massive attendance. It included theatre, music, dance, visual arts, graphic humor, fashion, photography, cinema, videos, and literature that went along with lectures, workshops, exhibitions, and events. The Biennial showed below-30 production and creativity through productions that became the seedbed of young artists. The fashion show organized in the San Martín de Tours Square positioned garment design as another art expression and attracted the attention of mass media. Andrés Baño, Gabriela Bunader and Gabriel Grippo were among the 10 finalists. They presented clothes made of leather tanned in a familiar way, hand painted garments, and plastic dresses worn by models who left traditional conventions on the side and opened the door to drag queens and street girls. Different expressions showed the identity embraced by new generations that emerged after the period where censorship prevailed and reconquered public spaces. In the Bathroom fashion show, two women kissed, an act that revealed diverse sexual  orientations still hidden by mainstream society. Many of the designers who participated later joined the circle of artists that gathered with Sergio De Loof and the Bolivia bar. The second Biennial (1991) took place inside a barn in Puerto Madero and its main theme was sustainable design. The event was not organized for more than two decades after that, however, it was brought back in 2015.

#Epic #ExpertOpinion | Sallaberry + Scotto
Carlos Sallaberry is an architect, who graduated from the UBA, and, since the 70’s he has been a member of Studio M|SG|S|S|V|. He was vice president of the CPAU Professional Architecture and Urbanism Council (1998−2002) and Dean of the School of Architecture of the University of Palermo (2000 to 2010). He created the Design Department of the CAyC (1975). He co-founded the ALADI (México, 1976); the BAAL (Quito, 2012); and the Oscar Niemayer Award of Latin American Architecture. He was also the Project Manager of the Buenos Aires 2004 Olympic Nomination (1997/1998) and the Director of the BIABA (International Architecture Biennial of Buenos Aires) since 1989. He has obtained multiple recognitions and awards as an architect and scholar. We will talk with Sallaberry about his significant activity as part of the Design Department of the CAyC and his ties with Jorge Glusberg.

Ana María Scotto is an architect, UBA graduate, and Coordinator of the post-graduate Furniture Design program at the UBA (since 1993). She specialized in architecture and hospital equipment design. She was the coordinator of “DataMamba”  for the Buenos Aires Modern Art Museum and she produced the Argentine section of the magazine "La mia Casa". Blanco´s wife, since 1980, she has collaborated with him as a furniture design manager and in the organization of his international exhibitions; since 2018, she has managed his legacy in relation to exhibitions, donations, and events about his body of work. She was awarded an honorable mention at the contest “Urban Furniture Design for the City of Buenos Aires”, alongside Blanco, Kayser y Naso (2005). We will talk with Scotto about collective, experimental design actions and the institutions that promoted the profession during the 1970’s and 80’s.

Extension | Cristián Mohaded at the MNAD
Territorio Híbrido is an exhibition that reformulates design legacies and 1930’s Argentine decoration from the contemporary perspective of young creator Cristián Mohaded and the curatorship of Wustavo Quiroga. IDA Foundation collaborated with the needed research about Ignacio Pirovano (founder of the MNAD), Comte company, and significant, regional Argentine style pieces like the equipment made for the Llao Llao Hotel in Bariloche. The data found in documents revealed connections between current production and the origins of the Errarázuriz Palace, the building that currently hosts the National Museum of Decorative Art, thus enhancing an already relevant proposal. Mohaded’s work is part of the Foundation’s archive, which keeps some of his sketches, material tests, and emblematic pieces made in Argentina and abroad. Alongside Hugo Kogan, he is currently an institutional advisor in the area of products and industrial design. 

Extension | Incorporation of Cánovas
We are proud to announce the patrimonial incorporation of the Eduardo A. Cánovas (Buenos Aires, 1940) collection to IDA. Cánovas was a prolific designer, who worked for more than 50 years in the field of visual communication. Since 1960, he worked in Creative Art Direction areas of several advertising agencies, providing advice to diverse companies and institutions. He founded Cánovas Design in 1974, a firm that specialized in designing identification systems, signage, stands, archigraphy, packaging, and editorial design. In just a few years, due to his powerful visual perspective, he created multiple brands. His work was published in international yearbooks in Tokyo, Milan, London, Zürich, New York, and Münich. He showed his pieces in exhibitions, both locally, at the CAyC, and abroad, at the World Symbol Festival (1994), organized by International Trademark Center (ITC). The collection donated to IDA includes panels, posters, objects, photographs and slides, scale models, packaging, portfolios, and working processes. The research was carried out together with Nicolás Garassino from Logos Argentina.

Bibliography
-Joly, V. (2019). “Aportes para una historia del diseño de indumentaria en la FADU UBA: aspectos simbólicos y epistemológicos en la formación del campo”, XXXII Jornadas de Investigación y XIV Encuentro Regional SI + Campos, Universidad de Buenos Aires.
-Zambrini, L.; Lucena, D. (2019). Costura y cultura. Aproximaciones sociológicas sobre el vestir. La Plata: EDULP.

Images | Fundación IDA, Fondos Patrimoniales: 1. Revista Gente | 2. Guillermo González Ruiz | 3. CAyC | 4-9. Centro Cultural Ciudad de Buenos Aires | 10. Guillermo González Ruiz | 11. Reinaldo Leiro | 12 - 13. María Sanchez | 14. Angela Vassallo | 15. López-Romero | 16-17. Ricardo Blanco | 18-19. Rubén Fontana | 20-21. Marta Elena Cortés Álvarez | 22-23. Centro Cultural Ciudad de Buenos Aires | 24. Retrato Salaberry | 25. Retrato Scotto | 26. IRSA | 27. Cristián Mohaded | 28-30. Eduardo Cánovas | 31. Fundación IDA. 

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