[SOUTH AMERICAN AVANT-GARDE - COMPUTER ART] CAyC. Centro de Arte y Comunicación [Center of Arts and Communication]. Extensive run of 370 separate newsletters published in numbered sequence (see list below), as well as 63 unnumbered issues and additional related publications and press releases

Remarkably substantial run of numbered newsletters by the CAyC (Center for Art and Communication) group, which was founded in the late 1960s by the art critic and entrepreneur Jorge Glusberg. The starting point was the idea of an interdisciplinary Latin American network that would link art, science, technology, and society. From the very beginning, the concept of linking different disciplines and areas of life was guided by the terms of systems theory and cybernetics. The group's first exhibition, which was held in 1969 under the title "Arte y Cibernética" (Art and Cybernetics), was programmatic. Not only artists, but also IT engineers, mathematicians, and sociologists played a leading role in the project. Among other things, newly developed automatic drawing machines were used for the exhibition. Computer-generated drawings were also reproduced using screen printing. The exhibition was so successful that it was not only shown in Buenos Aires, but also in Montevideo, Lima, Minneapolis, San Francisco, New York, London, and Tokyo.

The group also built an exceptional representative headquarters at 452 Viamonte Street in Buenos Aires, which, with its cut-off, curved entrance, is reminiscent of a techno-futuristic spaceship or punched cards used in computer systems. CAyC became a very successful player in the production and dissemination of new and innovative technology-driven art forms, despite all the political unrest in Argentina. The third exhibition, organized in July 1971 under the title "Arte de Sistemas" (Systems Art), was important not only because it succeeded in showing numerous renowned international artists such as Vito Acconci, Dan Graham, Hans Haacke, Allan Kaprow, Joseph Kosuth and Dennis Oppenheim, but also because it followed a strict rule: 101 experimental artists used only one specific construction paper in a single format. This was intended to create a standardized system in which all artists could participate on an equal footing. This uniformity also made it much easier for the exhibition to travel to other countries. CAyC also played a pioneering role internationally in video art. Between 1974 and 1978, the group organized ten events in Europe, Latin America, and Asia in order to promote experimental cinema and video art worldwide and to promote the associated debate and dissemination. (José‑Carlos Mariátegui, Cybernetics and systems art in Latin America: the art and communication center, CAyC, and its pioneering art and technology network, in: Ai & Society 37, 2022, pp. 1071-1084.)

One of the group's most important projects since 1970 was the publication of the newsletter, which was sent out internationally in a few hundred copies to subscribers and multipliers with consecutive numbering and dates. Each issue was preceded by the abbreviation "GT", which presumably stood for "Gacetillas de trabajo" [Work Newsletter]. Exhibitions, productions, symposia, seminars, manifestos, art projects and works of art were continuously presented on the individual sheets, making the leaves one of the most important documentary sources of the Latin American avant-gardes today. The appearance of the leaves made it unmistakably clear that art, technology, and organization were not opposites for CAyC, but rather a unity: sans serif typography on thin colored paper (yellow, green, and red), with two corners cut off, evoked associations of computer cards and computer printouts. The sheets appeared in the ornamentation of state-of-the-art data processing. (María José Herrera and Mariana Marchesi, The Centro de Arte y Comunicación: Its History, see: htt p s ://icaa.mfah. o rg/s/caycfiles/page/cayc, January 17th 2023).

The following CAyC "GT" numbers are included: 54, 80, 104, 113 (2 leaves), 116, 125, 128 (3 leaves), 129 (2 leaves), 133, 138, 159, 168, 212 (3 leaves), 233, 244, 309, 310A, 311-316 (2 leaves Engl. and Span.)-320, 328, 330, 348-354 (3 leaves), 355-356 (4 leaves), 357, 359-360 (2 leaves), 361 (2 leaves), 362-370A, 371A, 372-378 (6 leaves), 379, 381-386, 388-391, 393-398, 401-405, 408-411, 414-418, 420, 420-423, 425-438, 440-448, 450-457, 459-463, 467, 468, 471-478, 480, 481, 483-497, 308, 504, 507, 508, 515-518, 520, 522, 525, 526, 528-531, 534, 535, 537-544, 546-555 (2 leaves), 557, 559, 562, 565, 570, 574, 575, 578 (2 leaves), 579-583, 585-588, 590-592, 594, 597, 598, 601-602, 609-614, 616-619 (2 leaves), 620-629, 633-637, 639-649, 651, 654-668, 672, 673, 675-677, 679-682, 684-686, 689-699, 708-710, 715-722, 725, 728-733, 735, 736, 738-742, 745-746, 748, 761-767, 772, 774-777, 779, 781, 782, 785. As well as 63 unnumbered issues (including 11 duplicates).

Institutionally scarce and very desirable, especially in such a large run. We can only trace significant holdings at UT Austin and the MFA in Houston. AIC holds an unspecified incomplete run and Watson Library (Metropolitan Museum) appears to hold only 19 issues. Remarkably substantial run of numbered newsletters by the CAyC (Center for Art and Communication) group, which was founded in the late 1960s by the art critic and entrepreneur Jorge Glusberg. The starting point was the idea of an interdisciplinary Latin American network that would link art, science, technology, and society. From the very beginning, the concept of linking different disciplines and areas of life was guided by the terms of systems theory and cybernetics. The group's first exhibition, which was held in 1969 under the title "Arte y Cibernética" (Art and Cybernetics), was programmatic. Not only artists, but also IT engineers, mathematicians, and sociologists played a leading role in the project. Among other things, newly developed automatic drawing machines were used for the exhibition. Computer-generated drawings were also reproduced using screen printing. The exhibition was so successful that it was not only shown in Buenos Aires, but also in Montevideo, Lima, Minneapolis, San Francisco, New York, London, and Tokyo.

The group also built an exceptional representative headquarters at 452 Viamonte Street in Buenos Aires, which, with its cut-off, curved entrance, is reminiscent of a techno-futuristic spaceship or punched cards used in computer systems. CAyC became a very successful player in the production and dissemination of new and innovative technology-driven art forms, despite all the political unrest in Argentina. The third exhibition, organized in July 1971 under the title "Arte de Sistemas" (Systems Art), was important not only because it succeeded in showing numerous renowned international artists such as Vito Acconci, Dan Graham, Hans Haacke, Allan Kaprow, Joseph Kosuth and Dennis Oppenheim, but also because it followed a strict rule: 101 experimental artists used only one specific construction paper in a single format. This was intended to create a standardized system in which all artists could participate on an equal footing. This uniformity also made it much easier for the exhibition to travel to other countries. CAyC also played a pioneering role internationally in video art. Between 1974 and 1978, the group organized ten events in Europe, Latin America, and Asia in order to promote experimental cinema and video art worldwide and to promote the associated debate and dissemination. (José‑Carlos Mariátegui, Cybernetics and systems art in Latin America: the art and communication center, CAyC, and its pioneering art and technology network, in: Ai & Society 37, 2022, pp. 1071-1084.)

One of the group's most important projects since 1970 was the publication of the newsletter, which was sent out internationally in a few hundred copies to subscribers and multipliers with consecutive numbering and dates. Each issue was preceded by the abbreviation "GT", which presumably stood for "Gacetillas de trabajo" [Work Newsletter]. Exhibitions, productions, symposia, seminars, manifestos, art projects and works of art were continuously presented on the individual sheets, making the leaves one of the most important documentary sources of the Latin American avant-gardes today. The appearance of the leaves made it unmistakably clear that art, technology, and organization were not opposites for CAyC, but rather a unity: sans serif typography on thin colored paper (yellow, green, and red), with two corners cut off, evoked associations of computer cards and computer printouts. The sheets appeared in the ornamentation of state-of-the-art data processing. (María José Herrera and Mariana Marchesi, The Centro de Arte y Comunicación: Its History, see: htt p s ://icaa.mfah. o rg/s/caycfiles/page/cayc, January 17th 2023).

The following CAyC "GT" numbers are included: 54, 80, 104, 113 (2 leaves), 116, 125, 128 (3 leaves), 129 (2 leaves), 133, 138, 159, 168, 212 (3 leaves), 233, 244, 309, 310A, 311-316 (2 leaves Engl. and Span.)-320, 328, 330, 348-354 (3 leaves), 355-356 (4 leaves), 357, 359-360 (2 leaves), 361 (2 leaves), 362-370A, 371A, 372-378 (6 leaves), 379, 381-386, 388-391, 393-398, 401-405, 408-411, 414-418, 420, 420-423, 425-438, 440-448, 450-457, 459-463, 467, 468, 471-478, 480, 481, 483-497, 308, 504, 507, 508, 515-518, 520, 522, 525, 526, 528-531, 534, 535, 537-544, 546-555 (2 leaves), 557, 559, 562, 565, 570, 574, 575, 578 (2 leaves), 579-583, 585-588, 590-592, 594, 597, 598, 601-602, 609-614, 616-619 (2 leaves), 620-629, 633-637, 639-649, 651, 654-668, 672, 673, 675-677, 679-682, 684-686, 689-699, 708-710, 715-722, 725, 728-733, 735, 736, 738-742, 745-746, 748, 761-767, 772, 774-777, 779, 781, 782, 785. As well as 63 unnumbered issues (including 11 duplicates).

Institutionally scarce and very desirable, especially in such a large run. We can only trace significant holdings at UT Austin and the MFA in Houston. AIC holds an unspecified incomplete run and Watson Library (Metropolitan Museum) appears to hold only 19 issues.