Heir to a long tradition of commemorative photo albums there, the book was published twice, in 1936 in conjunction with citywide celebrations of the 400th anniversary of Buenos Airess foundation, and again in 1937. Marshaled as part of Perns far-reaching campaigns to redefine Buenos Aires, and Argentina as a whole, as a nation responsive to the needs and desires of the presidents working-class supporters, the photographs converted the capitals public spaces into contested sites teeming with political meaning. Join Facebook to connect with Yossi Steinmetz and others you may know. Contact. 15CitationMariano Ben Plotkin, Maana es San Pern: propaganda, rituales polticos y educacin en el rgimen peronista (Buenos Aires: Ariel Historia Argentina, 1994), 8. 107 (OctoberDecember 1987): 445461. Works like theirs, he argued, show and document the visual, intellectual, and moral aberrations of a (fortunately small) group of failures.Footnote17 Such artists, Ivanissevich declared resolutely, had no place in Peronist Argentina. In 1948 Stern became the photographer and graphic designer for the Estudio del Plan de Buenos Aires (EPBA), a municipal think-tank charged with reimagining the citys approach to urbanism and housing. Like Coppolas album, the Peuser book reveals its makers search for a pictorial means of bridging the gap between Buenos Airess distant history and its current moment. Two of the photographers listed along with Stern on the title page, Emilio Abras and Pinelides A. Fusco, were regulars on the payroll of Perns Subsecretara de Informaciones. Within these photographic icons of Argentinas mid-twentieth-century politics, the dense masses assembled in Buenos Aires transform the citys hallmark visual and physical features: its wide avenues and sprawling plazas, its historical monuments and architectural structures are overwhelmed by a sea of people so thick as to hinder immediate recognition of the sites captured by the camera. His extensive use of visual and verbal propaganda, they argued, amounted to a canny ploy aimed at dulling the publics intellectual sensibilities. 12CitationSara Facio, Grete Stern: fotografa en la Argentina, 19371981 (Buenos Aires: Editorial La Azotea, 1988), 10. 25 Within the immense bibliography on Pern and this transformative effect on Argentina exist a number of analyses of his propagandistic strategies and interventions in the press, popular culture, and the world of visual arts. Register a free Taylor & Francis Online account today to boost your research and gain these benefits: A City in Dispute: Grete Sterns Photographs of Buenos Aires, 19361956, Julio Rinaldini: escritos sobre arte, cultura y poltica, Las huellas de la poltica: vivienda, ciudad, peronismo en Buenos Aires, 19431955, The Fourth Enemy: Journalism and Power in the Making of Peronist Argentina, Poltica y cultural popular: la Argentina peronista, 19461955, Exhibition of Photographs by Horacio Coppola and Grete Stern, Grete Stern: fotografa en la Argentina, 19371981, El arte abstracto: intercambios culturales entre Argentina y Brasil, Un mundo fliz: imgenes de los trabajadores en el primer peronismo, 19461955, Poltica y espectculo. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? The image of Buenos Aires broadcast internally and abroad thus would be one of old-world grandeur offset by new technological advances an image that deliberately blurred boundaries between past and present while it also defused recent reformist campaigns associated with the capitals informal, proletarian fringes.Footnote5, The two editions of Buenos Aires: visin fotogrfica wrapped Coppolas and, to a lesser extent, Sterns work into this effort to underscore the symbolic importance of the capitals transformed city center. An artists work, they insisted, should evince his or her capacity for invention a word treated as a hallowed mantra in Arturo and the groups later publications rather than ones ability to replicate the appearance of objects in the world. The work draws upon Sterns long-cultivated expertise in photography and avant-garde design to relay the EPBAs goals and the justification for its remake of the area, a project described as yet another Foundation of Buenos Aires.Footnote33 In its present state, the group argued, Buenos Aires suffered from the signature plagues of life in a modern, industrialized city: citizens choked on the smoke pouring from thousands of factory smokestacks; tree-killing machines robbed the city of its greenery; vehicles dominated the streets and threatened pedestrians; and tightly packed, tall buildings blocked sunlight, forming dark, depressing manmade canyons. 1 Stern and Coppola landed in Argentina in August 1935. This is your Buenos Aires, the flyer reads, This Buenos Aires where children live in passages that look like catacombs, play in unhealthy, vacant lots, and sleep, packed together, in cells that are refuges rather than homes. The photomontage Stern created as a visual counterpart to the EPBAs dire analysis of the capital at mid-century matches the brochure texts ominous tone. See, for example, CitationJames Cane, The Fourth Enemy: Journalism and Power in the Making of Peronist Argentina (University Park, PA: The Pennsylvania State University Press, 2012); CitationAlberto Ciria, Poltica y cultural popular: la Argentina peronista, 19461955 (Buenos Aires: Ediciones de la Flor, 1983); CitationGen, Un mundo feliz (2005); CitationGen, Poltica y espectculo. Coppola, despite his multi-decade career and espousal of a wide variety of photographic styles and subjects, is most often associated with the clearly focused, painstakingly composed photographs that comprise the majority of the works in his most famous book. Buenos Aires, Argentina. We use cookies to improve your website experience. YES Photography Photography by Yossi Steinmetz $$ 1184 Views. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. Yossi Steinmetz Photography @Yossi_s 3.57K subscribers Subscribe Home Videos Shorts Playlists Community Channels About Shorts Jewish wedding 964 views Uploads Play all Street Performers YOU. Yossi has 1 job listed on their profile. 2K. Peuser, a private company, had a robust, varied output in the early and mid-1950s, which included major state-sponsored publications. To provoke excitement over the city he called home, the critic compared it to an animate creature, thrilling precisely because it is unknowable. A symbolic link between images of Argentinas multitudes and Perns populist politics crystalized quickly: from the start of his first election campaign until his overthrow in 1955, similar views printed in vast quantities in state-sanctioned books, newspapers, magazines, pamphlets, films, posters, postcards, flyers, and other ephemera reigned as visual emblems of Perns presidency. Through her work with Mad, Idilio, and the EPBA in the late 1940s, Stern fine-tuned her ability to craft fictitious worlds through photomontage in order to relay particular interpretations of Argentinas artistic, urbanistic, and social ills as well as the remedies to these problems proposed by her collaborators. The EPBA imagined a city where residents would live surrounded by greenery, air, and sun, enjoying a happy life in a happy city.Footnote34 Sterns illustration of this perfected, future Buenos Aires appropriated documentary film stills from the EPBAs promotional film, La ciudad frente al ro. The work is also a dramatic departure from the straightforward, documentary approach that predominates in Sterns earlier photographs of the city. Log in or Sign up to explore Blink! Photography - Video yestudios@gmail.com 718.576.1769. Yoel Weiss is a music producer, songwriter, and recording artist. The only photographic image embraced by Arte Mad, Sterns photomontage is both a nod to the city the group called home and an expression of its affiliates desires to overcome the strictures of geographic place. The building, its doorway shut and its windows obscured by the gleam of light, is impenetrable to the viewers gaze. Tinted photographic portraits of the president and his wife, Eva, proliferated in posters and magazine advertisements aimed at canonizing the couple as saviors of the working class. Afterward, Stern returned to Europe for the birth of their daughter, but she returned to Buenos Aires in 1936 and remained based there for the rest of her life. As she had in the mid-1930s while working with Coppola, Stern again found herself in a position of compromise, ostensibly showing sympathy to opposing sides of a heated political debate through her varied professional output. In Entre muros of 1936, for example, made just as she settled in Buenos Aires, Stern homes in on a scene of rich textural and tonal diversity (Figure 2). View Yossi steinmetz's profile on LinkedIn, the world's largest professional community. Created by Emeric Essex Vidal, a British sailor and painter who began publishing images of the city in 1820 in the book Picturesque Illustrations of Buenos Ayres and Monte Video, these paintings offer up idealized descriptions of the citys port, its central plaza, and the expansive estancias that at the time rimmed Buenos Aires (Figure 14).Footnote41 Vidals watercolor records of the citys past find their modern counterpoint in the wealth of photographs that are the centerpiece of Buenos Aires moderno and Buenos Aires ntimo., Short captions, likely by Klappenbach, narrate these sections. In the decade after she settled in Argentina, Stern developed a close-knit social circle that included fellow immigrant artists and writers as well as local critics and colleagues who supported her new career in South America. For many the city is only an obstacle to overcome, he complained, a place where transit is managed, where the trolley arrives late, where the bus arrives full, where no one knows how to park a car; a mass of compact buildings over a rigid line of streets with little space.Footnote11 Rinaldini encouraged his readers to look at their surroundings anew and to engage more fully with Buenos Airess ever-changing physical appearance and shifting human substance. Closer to her work with the EPBA, Stern used photomontage to translate the dissident artistic aims of the Mad group into an image of the city the artists called home. New York, United States. Yossi Steinmetz's Phone Number and Email. Find contact's direct phone number, email address, work history, and more. Sterns work with Coppola in the 1930s provided her entre into Buenos Airess art and literary worlds, a position she nurtured even after their divorce in 1943. Sterns contributions were both subtle and overt: while Coppola is the only photographer credited in the volume, he no doubt benefitted from her insights as an artist who matured during a thriving moment in photo book and photo magazine production in Germany in the 1920s and 1930s. These Hasidic Jews came to Jersey City for more affordable . Yossi Steinmetz Photography Yossi Steinmetz Photography is a member of Vimeo, the home for high quality videos and the people who love them. Yossi Steinmetz Photography | About Yossi Steinmetz Photography Yossi Steinmetz @yesstudios - Twitter Profile | Sotwe Yossi Steinmetz. 41CitationEmeric Essex Vidal, Picturesque Illustrations of Buenos Ayres and Monte Video: Descriptions of the Scenery and of the Costumes, Manners, Etc., of the Inhabitants of Those Cities and Their Environs (London: R. Ackerman, 1820). Cancel Contact. Yossi Steinmetz is a Photographer at yes Studios based in Monsey, New York. Pictures identifiable as Sterns do, however, make plain her ability to create a nuanced, multi-image portrait of the city that accounts for its most grandiose vistas while also highlighting its more intimate social settings and the varied rhythms and sensibilities of Buenos Airess day-to-day. Despite being published in 1956, the year after Perns overthrow, vestiges of the publishing houses state connections are still present in Buenos Aires. The second edition gave itself over to Sterns vision more concretely, with a radically revised cover and binding that she helped design. 20CitationAnah Ballent, Las huellas de la poltica: vivienda, ciudad, peronismo en Buenos Aires, 19431955 (Buenos Aires: Universidad Nacional de Quilmes, 2005), 51. Beautiful Memories. Stern worked with the EPBA for roughly two years.Footnote36 The experience of studying the city with architects and urban planners was good preparation for her most extensive treatment of Buenos Airess cityscape, completed in the early 1950s. A close look at Sterns career from the late 1940s and early 1950s sheds light on the discrepancies faced by many artists as they struggled to find and complete creative work in a country overcome by a political force so overwhelming as to implicate broad swaths of cultural production, including many projects conceived without explicit political aim. The company's mailing . A visual patchwork of varied architectural styles, the images bottom register offers a view onto a modest structure of only a few stories, its windows covered in old-fashioned wood shutters, that opens onto a traditional tiled courtyard. Buenos Aires, Argentina. Within this lineage, Coppolas Buenos Aires: visin fotogrfica stands out as the most recent, and for Stern surely the most compelling, touchstone. But it was in the late 1940s that her status as a photographer of the citys urban landscape took hold through collaborations with local architects and book producers. Coppolas photograph posits the two monuments as trans-historical twins that bind distant history with the urbanistic aims of the present (Figure 3).Footnote6. In addition to her previous experience photographing Buenos Aires, she had secured a major commission to photograph a house by architect Amancio Williams in Mar de Plata in 1947. Revista de artes abstractas, who were eager to set themselves apart from the countrys old-guard cultural leadership. The company's filing status is listed as Active and its File Number is 5041500. Together, they carried idealized images of workers the revered beneficiaries of the presidents new policies as well as documentation of the administrations feats and pictures of official celebrations to audiences far and wide. As Ballent notes, Peronisms effect on the architectural and infrastructural landscape of Buenos Airess traditional city center was minor compared to the enormous construction activities enacted there by government officials in the 1930s.Footnote26 His administration and its collaborators within the municipal government instead concentrated resources on the capitals exterior limits. Though smaller in format than many earlier photo books, the Peuser volume situates Sterns work within Argentinas long tradition of commemorative photographic albums produced by both government agencies and private companies. Created over the stretch of nearly two decades, her pictures of Buenos Aires manifest her ability to visually remodel common urban scenes into sites of discovery, subjective reflection, and artistic invention. Sterns photographs reveal her sensitivity to architectural space, as well as her capacity to breathe life and warmth into photographic renderings of a building style noted most often for its logic and functionality. The world becomes softly blurred, and I feel like I melt right into" yossisteinmetzphotography Follow Brooklyn, New York 512 likes yossisteinmetzphotography "I love the rain. 40 Priamo states that Stern began talks with Aparicio in 1952, but a log of photographic negatives housed in her archives indicates that Stern started taking pictures for the Peuser book in 1951. At a glance. Yossi Steinmetz Sales Executive at A&Y FLOORS Brooklyn, New York, United States 2K followers 500+ connections Join to connect A&Y FLOORS timberCORE Floors Activity Yes It's vinyl steps. Stern gave visual form to the notion of the city as a place of mystery and continual perceptual discovery in her contribution to the journal Cabalgata in January 1947. Sterns turn to photomontage for her EPBA materials advanced an approach to imagining the city in photographic terms that she had initiated more than a decade earlier. Made during a heated moment in the nations history and centered on Argentinas undisputed powerhouse city, her urban photographs rub up against an array of ideological agendas and capture Sterns keen awareness of and participation in the social, cultural, and political debates that shaped Buenos Airess public image at home and abroad from the mid-1930s until the mid-1950s. 2 (February 1947): 7589. Espacio pblico y cultura urbana en Buenos Aires, 18871936 (Editorial de la Universidad Nacional de Quilmes, 1998): 387451. They exchanged the maritime-themed emblem on the original cover for a dynamic profusion of photographic imagery (Figure 4). 33CitationEstudio del Plan de Buenos Aires, 3ra fundacin de Buenos Aires.. Without access to these materials, this study would not have been possible. Sterns most sustained engagement with photomontage at this moment, however, grew out of her work with the weekly Idilio, a popular magazine aimed at young women and filled with treacly stories of budding romance, tips on fashion, strategies for finding and pleasing a husband, and advice about domestic upkeep and polite feminine sociability. Yossi Steinmetz Photography is a member of Vimeo, the home for high quality videos and the people who love them. Los festivales del primer peronismo: el 17 de Octubre en 1950, in AA. From the beginning of her photographic interactions with the city in the mid-1930s until the completion of her most ambitious treatment of the site two decades later, Sterns pictures of Buenos Aires shed new light on competing efforts to assign meaning to the citys physical configuration and visual appearance. Espacio pblico y cultura urbana en Buenos Aires, 18871936, Editorial de la Universidad Nacional de Quilmes, Imgenes para una fundacin mitolgica: apuntes sobre las fotografas de Horacio Coppola, Miradas sobre Buenos Aires: historia cultural y crtica urbana, 17 y 18 de octubre de 1945: el peronismo, la protesta de masas y la clase obrera Argentina, A Study of the Argentine Literary Journal and its Role in the Development of a Culture, 19311970, Maana es San Pern: propaganda, rituales polticos y educacin en el rgimen peronista, Marginal Disruptions: Concrete and Mad Art in Argentina, 19401955, Grete Stern: obra fotogrfica en la Argentina, Pern y los medios de comunicacin, 19461955, Picturesque Illustrations of Buenos Ayres and Monte Video: Descriptions of the Scenery and of the Costumes, Manners, Etc., of the Inhabitants of Those Cities and Their Environs, Journal of Latin American Cultural Studies. 4CitationAdrin Gorelik, A Metropolis in the Pampas: Buenos Aires, 18901940, in Cruelty and Utopia: Cities and Landscapes of Latin America (New York: Princeton Architectural Press, 2005), 157. Conspicuously absent are images of major public gatherings, popular demonstrations, and political protests. The text draws heavily from the work of Walter Peterhans, with whom both photographers studied in Germany. 10/27/2022 11:59 PM. Sterns work on the 1937 reissue of Buenos Aires: visin fotogrfica shifted the stylistic tenor of this heroic vision of Buenos Aires into a distinctly avant-garde key.Footnote7 For the new volume Coppola joined forces with Stern and the Italian graphic designer, painter, and art critic Attilio Rossi, a recent immigrant to Buenos Aires and an ardent advocate of vanguard art and design. They are at once highly personal interpretations of a city stirred by cultural and political change and records of fiery public disputes over Buenos Airess fraught past and its future course. Just as frequently, Stern homed in on and carefully framed details of objects that betray something of Buenos Airess particular urban idiosyncrasies: overloaded horse-drawn carts, the decorative flourish of an ornamental staircase, the bare branches of a recently pruned tree (Figures 11 and 12). . Affordable housing, in fact, was a primary concern for Perns government. The prints and negatives in her archives offer some guidance in terms of attribution, but pairing the images in the book to works in Sterns private collection offers little insight into her role in determining the publications overall look and message. The photographs appeared in two key Argentine architectural reviews, Nuestra arquitectura and La arquitectura de hoy.Footnote32 Sterns images of the landmark structure amount to an in-depth photo essay on the buildings novel form and the variety of materials used to distinguish spaces and add textural detail within it. Curved to bridge a stream and designed to interact with its surrounding landscape, Williamss building emphasizes an intimate dialogue between architecture and nature. Suturing together images drawn from an archive of photographs of objects and figures, Stern created pictures that imaginatively render the modern woman as terrorized by the trappings of domesticity and threatened by the pressure to conform to limited definitions of proper feminine behavior (Figure 10). 2020 [drnna], Goeun Museum of Photography, Busan, Korea Platform 26: Myoung Ho Lee, DeCordova Sculpture Park and Museum, Lincoln, MA 2019 Zaha Art Museum, Seoul, Korea Nothing But, Gallery Hyundai, Seoul, Korea 2017 Savina Museum of Contemporary Art, Seoul, Korea Tree, Yossi Milo Gallery, New York, NY 9CitationAlejandro Korn, ed., Anuario socialista (Buenos Aires: La Vanguardia, 1937), IIV, XXXIIIXXXIV, XXXIX. Phone: 001 917 509 1760. Both projects irrevocably inscribed Sterns photography within the moments defining social and political disputes. The administrations most grandiose (and arguably most disruptive) projects, moreover, helped to strengthen and maintain sections of the city long associated with the nations traditional power brokers. Last Update. Meta About Blog Jobs Help API Privacy Terms Top Accounts Locations Instagram Lite The strident publication and the artists associated with it, most of them significantly younger than Stern, were militant in their call for a new brand of concrete geometric abstraction in Argentina. Budget Photography By Moshe Yuda $$ 455 Views. The choice to hire Stern as the EPBAs official photographer and graphic designer was not wholly surprising. Log in to see their photos and videos. Stern and Coppola contributed seven photographs to the review, each jointly signed G. . Yossi Steinmetz is on Facebook. Pern and his supporters ensured that Buenos Aires and the country at large were suffused with his agenda: automobiles dressed with the presidents portrait and equipped with loudspeakers blasted his speeches as they drove through the streets;Footnote23 pro-Pernist brochures, newspapers, and magazine advertisements appeared in every public library, school, state office, and even Argentine embassies in foreign countries;Footnote24 state-produced short films played in movie houses, parish churches, and schools nationwide.Footnote25 In the late 1940s and early 1950s, Buenos Aires was, in short, a city saturated with pro-Peronist crusades. The critic instead lingered poetically on Buenos Aires as a city that can never be fully comprehended. For Rinaldini, the capital was a place habitually taken for granted by its residents. These are frequent between the Centre and the river (Figure 15).Footnote43. Download Swarm and live your life more checked in. Taken from a balcony or window, the photograph shifts gently from sharp focal clarity in the foreground to hazy atmospheric effects in the distance. With the national governments backing, Vedia y Mitre implemented an astounding program of architectural and infrastructural changes to Buenos Aires in the mid-1930s: existing central avenues were widened; two major diagonal traffic arteries were finished; Avenida Costanera, which follows the Ro de la Plata around the coast of the city, was finalized; construction on the monumental Avenida 9 de Julio began; and the Avenida General Paz, intended to define the capitals outer limits, took form as a landscaped parkway.Footnote4 In addition to projects with practical use value, Vedia y Mitre left his stamp on Buenos Airess register of historical monuments. Show number. Facebook gives people the power to share and makes the world more open and connected. Asociacin Arte Concreto Invencin and Arte Mad, for example, found a potent adversary in Oscar Ivanissevich, a key figure in Perns Ministry of Education who viciously attacked abstract art. Stern continued to support the young artists after this disintegration. The Zemiros Choir @ZemirosChoir. Yossi Steinmetz Photography @YesVIDE0S 3.55K subscribers Subscribe Home Videos Playlists Community Channels About Uploads Play all 0:56 Street Performers YOU WONT BELIEVE HUMAN CAN DO THIS!! Crucially, her Peuser images also depart markedly in both content and form from the great swell of propagandistic images of the capital then circulating in print and on screen. At the newly constructed Plaza de la Repblica, situated at the crossroads of Avenida 9 de Julio and the recently expanded Avenida Corrientes, he commissioned the architect Alberto Prebisch to erect an obelisk to honor the citys foundation. Her brochure at once draws upon and undermines photographys ties to the real world to create images that are rhetorically compelling and visually expressive. While Coppola and Stern were relatively discreet about their own political leanings, their participation in the journal suggests their genuine concern for the citys less-privileged social and economic classes. How do I view content? Broken into three sections Buenos Aires restrospectivo, Buenos Aires moderno, and Buenos Aires ntimo the book is full of anachronistic combinations. Buenos Airess municipal government, led by Mayor Mariano de Vedia y Mitre, a staunch supporter of Argentinas conservative, military-backed presidential regime of the mid-1930s, published both volumes. For more on Sterns relationship to these artists see Mara Amalia CitationGarca, El arte abstracto: intercambios culturales entre Argentina y Brasil (Buenos Aires: Siglo Veintiuno Editores, 2011), 38, and Ana Jorgelina CitationPozzi-Harris, Marginal Disruptions: Concrete and Mad Art in Argentina, 19401955 (PhD Dissertation, The University of Texas at Austin, 2007). 5 See CitationAdrin Gorelik, La grilla y el parque. During Juan Domingo Perns first presidential campaign, which ended in victory on February 24, 1946, photographs of seemingly boundless crowds packed into the streets and plazas of Argentinas capital city, Buenos Aires, proliferated in news sources that supported his candidacy (Figure 1). Sterns illustrations, at times only loosely linked to the textual accounts of womens dreams they accompanied, wittily undercut the conservative vision of modern feminine life promoted in Idilio an image that blatantly encouraged female consumerism and consistently reasserted traditional gender roles. Working simultaneously for a conservative municipal government and a key sector of the citys progressive political opposition, Stern and Coppola found their works enlisted by both sides of an ideological debate about collective definitions of Buenos Airess urban identity and political future a dispute frequently grounded in arguments over the citys actual physical makeup. Connect. The photograph is a complex interplay of light planes and shadowed recesses, rigid man-made constructions and the irregularity of nature, flat expanses that run parallel to the pictures surface and sharp diagonals that lead the viewers eye deep into three-dimensional space. 237 (November/December 1955): 9; Guillermo de Torre, La planificacin de las masas, ibid: 6172, quoted in Marcela CitationGen, Un mundo fliz: imgenes de los trabajadores en el primer peronismo, 19461955 (Buenos Aires: Fondo de Cultura Econmica, 2005), 15. The team pictured the city of tomorrow, by comparison, as practically paradisiacal: wide thoroughfares would allow for rapid, pedestrian-friendly transportation; housing would be comfortable, independent, modern, and healthy; light and fresh air would flow through well-planned blocks free of bulky, overbuilt structures. Yoel Weiss Releases New Single "Lo Lefached Klal". Key Principal: RACHEL STEINMETZ See more contacts Industry: Photographer, still or video Printer Friendly View Address: 21 Echo Ridge Rd Airmont, NY, 10952-4307 United States Phone: ? Photographs of Perns effect on Buenos Airess physical makeup likewise enjoyed ample space on the pages of state-produced books and periodicals. Global celebrities like Diego Rivera, Roberto Montenegro, Federico Garca Lorca, and David Sterenberg are listed alongside local figures, such as Leonidas Barletta, founder of Argentinas activist Teatro del Pueblo. Grab an account today and join our global network of storytellers in over 180 countries! To request a reprint or corporate permissions for this article, please click on the relevant link below: Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content? A music producer, songwriter, and more Argentina, 19371981 ( Buenos Aires as a visual counterpart the... 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