To the Fascination for The Chita Chita character than the consecrated Argentine artist Edgardo Giménez He had since he was a child – and who later reinterpreted in the drawings he made in the 1960s – now he adds the exhaustive digital exploration, accrual in ultra glamorous creatures and with a unique grace, undisputed feature of his pop works.
Fancy Monas is the name of the project which fuses art, archive and technology to manage 1,942 different piecestogether with Beyond Art Group (BAG). Twenty -five of these creations in vibrant colors can be seen until May 22 in MC Art Gallery. In turn, the already famous Monas, and other animals of the universe pergeted by the artist, are the protagonists of the collaboration he launched with the fashion brand Jasmine Chebar.
In this clothing adventure, More than 60 references are included, in leather, denim and tissues, which take shape of pants, divers and shirts, among others. It is known that both – both the prolific creator, such as the clothing firm led by the designer – coincide in the search for excellence in knowing how to do and creative audacity.
“I am an off -road artist,” Giménez acknowledges. “I pass from one thing to the other, and that is what fascinates me the most,” he deepens, at 82 – in dialogue with Viva – while reviewing some of the snapshots that passed for more than six decades of experience.
Not only did he have an outstanding role in the advertising graph, but It was an unavoidable figure in the explosive tandem of the Di Tella Institute. In addition to the work for film and architecture, Moma’s museums and the Metropolitan of New York, have works of their authorship.
After trying so many supports, what interested in Digital?
-I was interested in changing so many times. But, after the work of artificial intelligence, I made a review.
Did you review one by one, the 1,942?
-Yes, because I am a perfectionist, then I like being happy with what I am offering. First, I need to approve.
Are you cute inspired by women who admire?
-Yeah, There is a sexy that is inspired by Mae West, whom I admired a lot. He was a person who lived all the time having fun with herself.
Without nostalgic, what gives and what does technology take away?
–It helps me to realize faster and perfect. I am grateful for that. I am when the computers did not exist: everything had to be at hand. It was good for me to learn that and that all the things that are promoted have an insured success.
How was the round trip to develop the collection with Jasmine Chebar?
-Ite interested that things are well done. Jasmine has that respect, that’s why I liked it. We had several meetings. The things she proposed, then she saw them with her team. Thus this story was born. I never imagined that I was going to be so successful and so fast.
The monas that appear in the collection had made them in the 1960s and now they returned to the clothes. Would I have imagined it?
-He took 7 years old I went with my mother to see the movie Tarzán and the magic fountain. The women who took that source always remained young. That struck me in an impressive way. And the cute monkey made me very funny. There began the matter of the monas.
Then Pop returned them, Glamor gave them, some have fascinators, other Afro hairstyles …
-Yes, they are all different, the 1,942. The number is for the year of my birth. CUMPLA 83 In October, I am from Libra with Ascendant in Pisces.
Thinking about his relationship with fashion, what did the trip he made to New York represented in the 1970s?
-It was a vital trip, because, well, New York, even if he had stopped looking at what was happening in a corner, he already had it justified. It was great everything that happened there; The behavior of the people, the big stores, the museums that are formidable. I never thought I was going to see my work at MoMA and Metropolitan. I looked at all that, but not associating it with my person.
Of that aspirational idea, what do you remember about clothes?
-I was at a hippies party at Central Park, there passed everything, I saw amounts of things. That was a trigger in me. I loved seeing that freedom.
Here we were in a complicated era, in dictatorship …
-Yes, I remember being at the door of Di Tella and will take me for background investigation. It was a horrible, unfair thing, and overwhelming our freedom. There was the opposite, I was like in a kind of paradise, I also learned the way.
He is one of the artists of his generation who had more works exhibited on the street: the posters, for example. Now that will happen to your clothes, what expectation?
-I love it. And regarding the posters, when Kive Staiff was at the San Martín Theater I went to change the image. It was very stimulating. There were people who even went to the theater, bought the poster and left. That from a very young age: I always liked to like it.
Jorge Romero Brest, director of Di Tella, was one of those who insisted with the idea of art to use. Saving distances, are you doing it now?
-Yeah, Art can be filtered on all sides. It is not just making a painting, a sculpture or an installation. The same, I do not think that everything that is seen is art, such as when in an inauguration, there are people with their backs to work and are talking about any vegetables. The true art is the one that does not leave you unharmed. If in a place there is one thing that is supposed to be important and people consider no, that is a symbol that it is not art.
Returning to the clothing, he also sold clothes in “La Oveja Boba” and “The tender bite.”
-Yes, “La Oveja Boba” was on Rodríguez Peña Street, between Santa Fe and Charcas, there Nacha Guevara bought a kind of robe he had done. And “the tender bite” was in my house, in Olivos, it was a space built in the background to sell my things. I always liked to enter all the places where I could express myself.
It is not so common that artists armen commercial structures. Was it daring in that regard?
-I didn’t realize that I was so daring (laughs), I lived it naturally. It was unstoppable, happy doing. I never stop tuning creativity. To the point that I now have a number of sketches of things to send to the workshop, which I will have to be controlling later.
For a new sample?
-Yes, and I want to edit a new book that has a long name. I took it from an Olinda Bozán and Luis Sandrini movie. I liked Olinda’s phrase: “What can you teach me with the money that I have?” That joke is what happens now; People respect you if you have economic power, not if you have imagination and you are great in another aspect. When I worked in advertising I saw that people who had money had a degree of insolence that others had. They were arrogant, they tried to run to “tickets.”
“I always believed in posterity before,” that expression in his autobiography, is it a way to recognize that he was going to transcend?
-I think I was spoiled since I was a child because the things I do very much. When I did the retrospective in the Malba (2023), they lined up to take pictures with me and signed the catalog. They were euphoric. If there is something that identifies me, I am an artist who causes happiness. It is no small thing, and more at the moment, where the serious is collapsed.
What happens to this context today?
-We are in a strong crisis, with rumors of war all the time. If you don’t have your own world and you are comfortable in that world that you invented for yourself, you suffer a little. That’s why I turn to what I am passionate about, and that softens a lot. When you have a profession you love, and there you put your lifeThat is the most important. All the other, becomes secondary.
