1+1=3 G.E. Marx Vigo, a third mind

Abstract

In the context of the civil-military dictatorship in the Argentine Republic, emergency strategies begin to be produced in order to make known the reality of the country silenced by censorship and the complicity of general public opinion. Correo Art begins to transform into the bastion of resistance to the attacks of repression. In 1976, the son of the plastic artist Edgardo Antonio Vigo, Palomo, was kidnapped from his home. In 1977, Vigo proposed to work as a joint firm with the artist from La Plata, Graciela Gutiérrez Marx, as a form of support to gather strength to communicate what was happening and combat the horror of disappearances. The joint firm was born based on the game of their names merged. The idea of a third mind coined by Vittore Baroni suggests a splitting of subjectivities to try to express what hurts directly, an alter ego that allows witnessing and expressing what trauma does not allow. Faced with the logic of horror promoted by the state, this performative action of reinventing a third level of speech becomes the outlet that allows the process of mourning and a certain melancholy of disaffection.