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Buenos Aires (Argentina), 1941. Lives in Buenos Aires (Argentina). Performance, Installation, Telecommunications Art.

Minujin began her artistic career in the sixties, painting. The artist was investigating new materials and forms for her work, and chose mattresses as her raw material.
In 1961 she obtained a grant and moved to Paris, where she continued her work experimenting with mattresses, but this time within the context of inhabitable structures. During that period she created different ephemeral works that culminated in the performance “La destrucción” (1963), in which the artist destroyed all her work to date. In 1964 she won the Torquato Di Tella Institute’s first prize with “Revuélquese y Viva” (Roll Around and Live), an inhabitable construction covered in different-coloured mattresses. With a Guggenheim Foundation Grant (1966), Minujin settled in New York, where she started a series of works clearly influenced by McLuhan’s theories. These works combine the ideas, concepts and structures of telecommunications art, and include “Simultaneidad en Simultaneidad” (Simultaneity in Simultaneity) (1966), a joint project with Allan Kaprow and Wolf Vostell in which she uses different media to create kind of instant media invasion. She later created “Minuphone” (1967), in which a telephone booth reacts to the dialling of numbers.
She is currently working on sculpture and events.

-1960, pintura.
-Performance: “La destrucción” (1963).
-Works : “Revuélquese y Viva” (1966), “Simultaneidad en Simultaneidad” (1966), “Minuphone” (1967).

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