Exit of the workers from the museum. Workshop and Republic from Tucumán Arde

Alexander Apóstol's work has been marked -in recent years- by an important political accent at the level of the institution and the discourse of art. In Latin America, art and politics have historically constituted two interdependent variables: the most outstanding artistic movements in the region have contributed to promote new ways of conceiving the political discussion and to facilitate its insertion in the social fabric. Alexander Apóstol chooses the foundational text of Tucumán Arde as a working tool and proposes, based on it, a discussion on the exposed concepts, on the formation of the artist, his role as author and the socio-political insertion of the work. The production and diffusion strategies of that 1968 action are his referents. Apóstol decides to advance on the questioning of the artist's place -already present in the movement of reference- and to carry out a collaborative work: he advances on the manifesto, initially, from mathematics and the networks from which he obtains the keys for a development of the work of "rereading". He starts by transferring the linguistic structure of the Manifesto to numerical codes through the graph theorem, a natural schema of social networks, and highlights the character of the movement in question. Then, through the disciplines brought into play in the different workshops -cinema, writing, performance, drawing-, it incorporates a series of variables that serve as triggers for the multidisciplinary work carried out by specialists and students of the UNTREF.