Essentially the same: Eduardo Costa's minimal differences and Latin American conceptualism

• Autores: Patrick Greaney
• Localización: Art history: journal of the Association of Art Historians, ISSN 0141-6790, Vol. 37, Nº. 4, 2014 (Ejemplar dedicado a: Theorizing imitation in a global context / coord. por Paul Duro), págs. 648-665
• Idioma: inglés
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• Resumen

  • This essay presents works by Argentine artist Eduardo Costa as critical imitations, and proposes that their specific form of imitation can be used as model for understanding the relation of Latin American conceptualism to European and North American conceptual art. At the centre of the argument is Costa's work "A piece that is essentially the same as a piece made by any and of the first conceptual artists, dated two years earlier than the original and signed by someone else" (1970). Originally printed in the catalogue for the exhibition "Art in the Mind" (Oberlin College, 1970), it proposes the creation of a backdated copy of a canonical work. Imitation determines Costa's work in an additional way: he intended the work to be a critique of conceptual art, which he perceived as an ossified style. This essay places this work in the context of Costa's "Fashion Fictions" series and his participation in the Argentine avant-garde of the 1960s.