Batuz

In 2009, the preliminary enactment of ‘no mas fronteras en Afghanistan’ is made possible through the support of 200 soldiers of the Panzergrenadierbrigade 37 of Frankenberg in conjunction with local civilians. It would finally be implemented in Afghanistan, through the support of the German Minister of Defense Karl-Theodor zu Guttenberg, in the fall of 2010 when Batuz’ visits and promotes the project in cooperation with members of the international joint armed forces and various Afghanistan locals.

In 2006, together with support from the Uruguayan government and military, Batuz goes to Antarctica and realizes, with scientists from different nationalities posted throughout the continent together with members of the military, his project ‘no mas fronteras en la Antartida’. Along the endless background of snow and ice, aerial documentation is taken of the participants forming a line that reenacts the image of his painting held in the collection of the Guggenheim museum.

Though forever formative, and the Société Imaginaire being nothing other than a social representation of his study on the ‘Interrelation of Forms’, Batuz begins to integrate his artistic works directly into upcoming projects. The ongoing project ‘no más fronteras’ is implemented in the year 2004 on the German-Polish border in the river Neisse together with the cooperation of former General Inspecteur Hans-Peter von Kirchbach. The border between the two nations becomes symbolically overcome in the act. With civilians and members of the military of both countries standing together in the middle of the river, a physical representation of one of Batuz’ painting is composed to symbolize this mutual will.

As a consequence to bringing together like-minded people he creates in collaboration with different artists the ‘Argentine Portfolio’ in 1991. It is the first of many portfolios that will consequently follow and which become the physical documentations of his endeavors that bring together people from various parts of the world. The written contributions from these participants illustrated by others become the contents of the portfolios.

In 1990 one of the first formal meetings of the Société Imaginaire is organized in Berlin and is attended by numerous illustrious members who contribute texts that form the formative principles of the undertaking. Batuz begins to paint less and concentrates his efforts on the undertaking which will remain his main priority for the remainder of his life. Butor writes that Batuz “no longer paints with brushes but with people”.

In the ominous year 1984 Batuz founded the Société Imaginaire. It is “an undertaking that strives for cultural dialogue. It has applied itself through multifarious projects, continuously aiming at the same goal but doing so through different means. The great ambition of all the undertakings projects, no matter in what form its method is applied, continuously aims towards the same ideal. Overcoming borders, whether they are the physical ones that are imposed between regions, or even the imperceptible ones that arise socially, the projects bring together the various peoples divided and by having them communicate through art, they virtually overcome these conflicts by exposing a common desire that is shared individually yet globally.”

In 1983 Michel Butor visits Batuz in Greens Farms. Beginning of the ‘Meditacion sur la Frontier’. It marks the beginning of a continued collaboration which studies the line as a border and markedly exposes the applicability of the ‘Interrelation of Forms’ on a social dimension.

From January to April 1982 works in isolation on huge paintings in Blanton (Dade City), Florida.

In 1980 Batuz creates several large works in paper. Film by Rawn Fulton on his life and work starts in April and continues during the following eight months, becoming an important document on the process of his work at all stages. Makes his landscape work in grass on the abandoned tennis court of his home. Works on maquettes for ceramic, stone, wood, and metal sculptures as further development of his search for form relationships.

In 1976 Batuz accepted an invitation to exhibit in West Germany. The occasion provided the opportunity to visit friends, some not seen for 30 years. Visited Oskar Kokoshka at his home in Villeneuve. First meeting with Dieter Ronte, lifelong friend and collaborator.

In 1975 Batuz published his portfolio ‘Forms in Tension’. The portfolio is yet another decisive step towards his study on the ‘Interrelation of Forms’.

In 1972 Batuz published his first portfolio of serigraphs with text by Rafael Squirru. The flat-even surface of silkscreen printing was a revelation to Batuz. Simplification of his work followed. John Davis Lodge, at this time the American Ambassador to Argentina, became interested in Batuz’ work. It was the beginning of a valued friendship. With the sponsorship of the Argentine Government initiated by the Ministry of Culture, Batuz left for an exhibition tour to the United States.

Through the generous donation by Carlos Idaho Gesell, in 1971 Batuz founded the Artist Center in Villa Gesell to bring together painters, writers, sculptors and musicians. Already burgeoning in his mind was the idea to bring together like-minded people, a concept he would only years later realize with his Société Imaginaire.

In 1969 Batuz built his atelier, approaching it like an organic sculpture without previous plans. He completed the entire construction himself. Met Leopoldo Presas, the beginning of a lifelong friendship and a year later Batuz met Rafael Squirru with whom began a great collaboration.

Batuz abandoned business in 1964 and dedicated himself exclusively to painting. Batuz moved to Villa Gesell, a solitary place by the sea, where he spent eight years in complete dedication to his work. The bright and hard sunshine on this vast extension of sea and sand dunes together with the spaces created by dark bushes, as a consequence to a preconceived notion, influenced his forms and colors. He turned more and more towards abstraction. This realization became the leitmotif for his entire lifework; the ‘Interrelation of Forms’.

Batuz spent his childhood at the country estate of Matraderecske, Hungary that belonged to the family for generations. Batuz’ life changed abruptly when the front lines of World War II approached the area. The family looked for temporary refuge from the horrors of the war and moved to Austria, never to return. The family in their escape underwent wandering, starvation, and refugee camps. The contact with people under these circumstances gave him another dimension of life. He worked hard to help to maintain the family. In 1949 the family emigrated to Argentina. During a heart ailment that incapacitated him for a year, Batuz started to paint in a naturalistic style.

Batuz (born May 27, 1933) is an artist, philosopher and cultural activist. He is the founder of the Société Imaginaire, an undertaking that strives for cultural dialogue. Batuz' ideas are carried out through the support of his foundations – Batuz Foundation USA and Batuz Foundation Uruguay, as well as Helmets for Peace e.V.

The Kennedy Center on its 25th Anniversary honors Batuz by inviting him and the Société Imaginaire to hold their meetings at the center for the duration of one week. Batuz is given the Kloster Park Altzella as a place to establish working centers. A publication illustrating the grounds, workshops, programs and opportunities created by Batuz at Altzella is published. Artists, professors, and students of all kinds from around the world are invited to participate in these workshops.