May 2022  


The various scenarios that make up our planet offer a kaleidoscope of situations, from the most tragic to the apparently idyllic. Wars continue to tinge with pain while life continues in the rest of the geography, in some places fighting famine and in others, managing opulence. What to do at such a crossroads?

From our tiny watchtower we seek to build a route of knowledge and emotions. Art, history, trades, are nourished by rigor, technique and passion. And in each monthly installment of Hilario, with the support of notable specialists, we bring you these views. Today with the signatures of Laura Malosetti Costa, Irinia Podgorny, Pedro Emilio Zamorano Pérez and Rodrigo Gutiérrez Viñuales, Leonel García, and the always so kind contribution of Ticio Escobar. And from our staff, from Guillermo Vega Fischer and who writes these lines.

Enjoy it!

Roberto Vega Andersen


Made in Peru.

By Irina Podgorny *

A quick tour. Almost as you leave, in a room to the left of the entrance, full of snail-shaped porcelain and furniture with animal inlays, in shell, tortoise and mother-of-pearl. On the right wall, below, half hidden, with the Inventory number 933-190 corresponding to the WS Box of Room 7, dedicated to Europe between 1600 and 1815, in a gallery whose name celebrates the protection of Sheikha Amna Bint Mohammed Al Thani, from the house of the Qatari monarchs – those who are putting a price on world art – a red fabric with motifs in shades of blue and yellow.

Dating between 1680 and 1720, this portion of a tapestry caught Dr. Podgorny's curiosity.


Uruguay at the Venice Biennale

By Laura Malosetti Costa *

On April 23, the 59th International Art Exhibition was inaugurated in Venice, curated by Cecilia Alemani, an Italian by origin, who chose the title of a book of stories by Leonora Carrington -“The milk of dreams”- to build a complex, surprising exhibition.

From the Río de la Plata, Uruguay selected a proposal full of symbols. With the curatorship of Laura Malosetti Costa and Pablo Uribe, the artist Gerardo Goldwasser constructed his Persona by drawing on the memory of a family trade.

From Hilario we invited Malosetti Costa to write to us about her experience. In an intimate tone text, she gave us her expert and sensitive look.


The book and its trade in the current Argentine territory. 16th – 19th centuries

By Roberto Vega Andersen

The first authorization granted to send books to the Río de la Plata was signed in 1534 and the Franciscan religious were its beneficiaries. These works carried the mission of catechizing the native populations, which is why books of romance or imagination -the popular chivalric novels- were prohibited, since it was feared that the indigenous would read those pernicious texts, so far from the path of God, and " learn vices and bad habits. The royal certificates and even more, the measures dictated by the agents of the Holy Office -the Inquisition had very demanding courts- provoked the censorship of the prohibited titles, although some authors maintain, there were always loopholes through which they traveled to Latin America.

Around the same time, Carlos V had approved Bishop Zumárraga's request to set up a printing press and a paper mill in Mexico City. (...)


How much is the art worth?

By Guillermo Vega Fischer *

Last Monday, May 9, the silkscreen portrait Shot Sage Blue Marilyn made in 1964 by the American pop artist Andy Warhol (1928 - 1987) climbed to reach the figure of 195,040,000 dollars (fees and taxes included) in the inaugural auction of the New York spring season at Christie's auction house.

In light of this and other records, we ask ourselves, can a screen print cost more than an original, unique painting? Can the price of a work by Warhol be higher than one by Picasso, Van Gogh or Leonardo da Vinci, or as Alex Rotter - head of the 20th and 21st century department at Christie's - maintains, is Shot Sage Blue Marilyn a work of art "on a par with Mona Lisa, Botticelli's Venus and Picasso's Les Demoiselles d'Avignon"? How is that artistic and economic value measured?


Paraguayan art of mourning by Marcos Ortiz, indigenous artist.

In the voices of Ticio Escobar, and Verena and Ursula Regehr.

Every loss of an artist is a pain that transcends, and even more so when it comes to an indigenous artist. Marcos Ortiz, born in 1952, belonged to the Nivaclé people and as such, built his world around the carving of palo santo and for years, drawing, which he sold in his own community when they visited him, or in exhibitions where he reached interest of curators and collectors.


“The abode of light. Julio Vásquez Cortés, story of an anomalous collector”.

By Pedro Emilio Zamorano Pérez and Rodrigo Gutiérrez Viñuales

The hobby or trade of collecting artistic works has traditionally been exercised by people with a profile and a relatively similar economic-social position. As a general rule, art collectors have been wealthy people belonging to influential and economically privileged sectors. In Chile some “historic” collectors responded to this profile, such as the cases of Eusebio Lillo, Luis Álvarez Urquieta, Fernando Lobo Parga, Pascual Baburizza and Ricardo Mac Kellar, among others.

But there is another facet of private collecting that is interesting to comment on.


The Atchugarry Museum of Contemporary Art, in Maldonado, Uruguay.

By Leonel García *

The Atchugarry Contemporary Art Museum (MACA), inaugurated on January 8, 2022, ten, twenty and thirty minutes away by car from the most famous beaches in Uruguay, is more beautiful without the massive summer public.

We invited a Uruguayan journalist to visit this beautiful museum and share his impressions with us. MACA was recently distinguished by Condé Nast Traveller, a publication specializing in luxury and lifestyle tourism, as one of the best new museums on the planet. Let Leonel tell it.


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Director / editor:
Roberto Vega Andersen
Guillermo Vega Fischer
Diseño y producción gráfica:
Nicolás Vega
Fernando Vega
Programación digital:

Esta publicación no comparte necesariamente las opiniones de todos los autores de los textos editados.