«Outside things happen, there is a socio-economic process in place, there are flowers in the gardens, there is a new face of labor, there is hope. Inside the Museum intellectual scheme works trying to explain the phenomenon. «
Ernesto Saul. Now Journal, December 28, 1971. Chile.
In December 1971, Lea Lublin, argentinian artist held an exhibition at the National Museum of Fine Arts in Santiago entitled «Culture: inside and outside the museum.» Through this exhibition the proposed idea was to establish a dialogue between political, social and cultural artistic production facing its relationship with different periods of history.
Understanding that the artistic language was never a matter of chance, but a logical consequence of the interaction of historical, philosophical and sociological events, Lublin projected this interdisciplinary work «active deciphering all the elements that constitute the structures of the language, submitted (or combined) in the work. To express this, made several large flowcharts formats in exposing the historical development from 1850-1970 of different disciplines: social sciences, philosophy, physics, mathematics, linguistics, architecture and psychoanalysis, questioning the extent to exert influence or directly or indirectly changed the visual arts, establishing connections and ruptures between them. To this was necessary the collaboration of a team of scientists, professionals, technicians, artists and students from Chile and Argentina, creating a space of confluence able to establish a network of connections substantiated. From their point of view, mathematicians explain what happened to that discipline over the past 90 ninety and how to break lines of mathematics match similar processes in philosophy, physics, linguistics and psychoanalysis.
This was accompanied by a vast audiovisual proposal covering both video and installations. At the base of the museum held an installation that consisted of numerous backdrops penetrating, ie, through which the public could walk, which hung from the ceiling and were projected with images that traced the development of art from Impressionism to popular realism of the period.
In front of the museum installed on both sides of the stairs projected backdrops on which a selection of mass media such as documentary films, television news, newspapers slides and were aware of the changes that occurred in Chile during that year. Through the front door you could see a third curtain retroproyectado from inside the front door that transformed into a kind of giant screen to the outside. All this could be seen both spectators and passers by expanding the instance beyond museum walls.
It is important to mention that in parallel with the exhibition Read Lubín was presented at the museum, eleven years later, the Abstractoscopio Cromático, physical machine devised by two Chilean producing colored light projections and variable forms, establishing a meeting point between art and science. He was next to the exhibition by Argentina but without any explanation of its operation, so that people could not really understand what it was.
Nationality Argentina. Graduated from the National Academy of Fine Arts in Buenos Aires Prilidiano Pueyrredón in 1949. In 1950 part to Europe goes through different countries and lived in Paris from 1951-1956. In 1956 he returned to Buenos Aires. Walk and live in different regions of Latin America. In 1964 he returned to Paris. Since 1953 exhibits regularly in major exhibitions being invited and selected to exhibit in biennials and galleries in Europe and Latin America.
In 1955 won the prize «Benveniste of the Jeune Peinture» of Paris. In 1959 he obtained a grant from the National Endowment for the Arts in Buenos Aires. In 1970 he won First Prize «useful and useless objects with Acrilicopaolini». Museum of Modern Art, Buenos Aires.