Archives

Uprisings

  • Instructions, Documentation and Reviews of the Periodic/Episodic/Sporadic “Uprisings:” (The Visceral Realist confrontational version of “Happenings”)

Criticism of Violence

  • This version of Walter Benjamin’s “Critique of Violence” approximates as accurately as possible the state in which Benjamin’s text was first available to students at the Universidad de Buenos Aires (UBA) in 1958.

Feud for Thought - ArtForum (2000)

  • In 2000, leading Visceral Realist Gustavo Raynal engaged in an artistic “Institutional Rupture” intervention, playing a central role in the controversial collapse of the 2000 Sao Paolo Bienniale. The controversy was reported widely in Brazilian and Argentine newspapers, and in this November 2000 Artforum article.

Letter from the Editor Guillermo Carnevale - JOIV (1999)

  • Journal of Implied Violence Vol. 1, Issue 1 (September 9, 1999)

Making a Break for It

  • In response to criticism that Gustavo Raynal’s Theory of Institutional Rupture lacked any foundation in art history or aesthetic theory, Carnevale drafted an addendum to Raynal’s paper that provided a sound academic and theoretical basis for the Raynal’s proposed art interventions. This addendum was delivered to critics attached to a brick and thrown through their windows during the Winter of 1999.

Eugenia Paz’s Conflict Resolution Diagram

  • Given the stigma of violence associated with her home country of Colombia, Paz has an uneasy relationship with the degree of violence advocated in Visceral Realism, and continues to advocate within the group on her belief that ceativity arises out of the resolution phase of the Visceral Realist production cycle, rather than the confrontational phase. This document is based on her original handwritten journal notes, where her ideas first took shape.

Photo, newspaper clippings of El Vaquero car accident in 1994

  • A horrible car accident threw El Vaquero 150 feet, where he landed in a field of thorny flowers, where he lay for three days before being found. He experienced what Giorgio Agamben called “bare life.” His entire body of work is based on those three days. This set of documents also includes his journal entries that he kept for three months after the incident, while in recovery

Interview of Gustavo de Raynal by Clement Greenberg (December 2000)

  • Buried deep in SPRV archives, our staff discovered a tape of an interview that we believe was a conversation between leading Visceral Realist Gustavo Raynal and iconic art critic Clement Greenberg. Although we cannot reconcile some inconsistencies in the dates, we believe the tapes to be genuine. A full transcription of the interview is made available here online and provide an interesting and surprising exposition of some of the origins of visceral realist thinking.

FlashArt Review (September 2000) of El Vaquero’s exhibition “God is Dead and the Curator Follows”

  • Museu d’Art Contemporani de Barcelona (August 2000).

VR Recruitment Memo

  • The original memo issued by Gustavo Raynal and Guillermo Carnevale, detailing procedures and strategies for providing invitations to join the Visceral Realists

The Dark Heart Seminar Papers:
Original documents from the first Visceral Realist workshops, meetings and maps of building demolitions where the Visceral Realists were founded, including:

  • Founding documents which require the overthrow of any existing Visceral Realist regime every 9 months… essentially institutional documents which purposefully undermine its own “institutionality” and rupture its own permanence. The Visceral Realists expose themselves to the risk of the death of their own organization.
  • Visceral Realist Paper on Aesthetics: where they first announce their intention to create beautiful things that unveil what is ugly and violent in the world, and to create beautiful things which demonstrate the uselessness of important things.
  • A Call to Arms: Justification for the Violent Overthrow of Non-Violent Art Practices
  • Eugenia Paz’s First Argument Against Competence in Painting

Original correspondence from Argentina’s Arte Rosa School and Agit-Prop artists with the Visceral Realists after their seminal exhibition put them on the Buenos Aires art landscape, including:

  • Letter from Escratchez and founders of the Argentina Project founders
    In this series of letters, counterculture agit-prop art “revolutionaries” advise Visceral Realists on how to obtain entry into the international Biennale circuit, cajoling the Visceral Realists on their lack of explicitly didactic political rhetoric and the absence of a radically political stance in their work.
  • Letters from Buenos Aires art elites Guillermo Kuitca, Roberto Jacoby, and Ruth Benzacar Gallery
    In this series of letters, the elites and tastemakers of Buenos Aries art establishment advise the Visceral Realists on how to build their careers in the gallery system, and imply that the Visceral Realists should tone down the political rhetoric, and the confrontational quasi-anarchist tactics behind their work.
  • Letter from Visceral Realists, responding to both schools of thought.
    In this single letter mailed as a response to all parties seeking to advise them, the Visceral Realists curtly respond to both schools of thought with an surprisingly eloquent response: “Fuck you.”

Promotional materials for the Visceral Realists’ landmark series of group exhibitions (original limited edition posters on archival paper, newsprint, postcards and letterpress invitations):

  • The Dark Hearts Seminars, Apetit Gallery, Buenos Aires, Argentina
  • On the Aesthetics of Rupture and Rapture, Centro Cultural Espana Buenos Aires (CCEB), Buenos Aires, Argentina
  • I Want Everything for Nothing (The Perils of Maximization), Belleza y Felicidad, Buenos Aires, Argentina
  • Disaster Design, Foundacion Telefonicas, Buenos Aires, Argentina
  • White Noise (The Fog of Information), Belleza y Felicidad, Buenos Aires Argentina
  • God is Dead and the Curator Follows, Museu d’Art Contemporani de Barcelona

July 1999 Ramona Art Journal review of the Visceral Realists’ landmark group exhibition: “Shedding Light: The Dark Heart Seminars”

Letter from Foundation Telefonicas, Centro Cultural Espana Buenos Aires and Eduardo Constantini, the owner of the Malba Collection, formally offering exhibition

Letter from Foundation Telefonicas, Centro Cultural Espana Buenos Aires and Eduardo Constantini, the owner of the Malba Collection, formally canceling exhibition

Handwritten Notes and Drafts of the Seminal Essays:

  • “On the Aesthetics of Rupture and Rapture”
  • “God is Dead and the Curator Follows”
  • “I Want Everything For Nothing- The Perils of Maximization”

1998 Modern Painter Review of Carnevale’s Supremacy Cycle series: “Scissors to Paper, Paper to Rock, Rock to Scissors.”

Actual Pages from Visceral Realist Gustavo E. Raynal’s sketchbook from 1995.

Documentary Photos of classroom/studio in Visceral Realist taller/studio where the Visceral Realists regularly met with students, encouraged conflicts between them, and mediated resolutions.