page_title: Dalila Puzzovio
section_title: Collaborative Works
hierarchical_section_title: Dalila Puzzovio / Artworks / Collaborative Works
caption_attribution_description: Español: Dalila Puzzovio y su obra La Novia Abandonada de 1962
context_page_description: Dalila Puzzovio is a Latin American visual artist and fashion designer active during the 1960s. Puzzovio works in the art forms of pop, happening, and conceptual art. Her artistic creativity is credited by Graciela Melgarejo as having paved the way for subsequent Argentine artists and greatly influenced the work they produced.
context_section_description: In 1963, she worked alongside Germaine Derbecq to create her second exhibition Cascaras (Shells). These "cascaras astrales", or astral shells, resembled empty bodies and were made of discarded orthopedic casts and other objects. According to the artist, these sculptures held the vibrations of the body it once held. Continuing with the use of casts as her primary medium, Puzzovio created Coronas para los habitantes no humanos from 1964 to 1998. This work, as described by Eduardo Squirru is illustrative of mortality and death; the color white representing the frailty of the human bone and the black representing the soul's darkness.    
  In the 1960s, there was a surge of pop artists in Argentina, among them Puzzovio, Edgardo Gimenez, and Puzzovios' husband Carlos "Charlie" Squirru, whom she had met in 1962. During 1965, this artistic trio worked together on the design for a poster panel located on the corner of Viamonte and Florida Streets in Buenos Aires that read "¿Por qué son tan geniales?". The panel was constructed by painters from Meca publicity agency and posed the question "Why are we such geniuses" in bold, black letters. Under the question was the name of the three artists as well as a large portrait of the three artists holding items that defined their artwork: Puzzovio held empty orthopedic casts, Gimenez held industrial materials, and Squirru held a blood transfusion bag. The billboard was meant to resemble a movie advertisement and was overlooked by Argentinian passersby and commuters. Inés Katzenstein wrote that it was in this self-deprecating manner that the artists publicly acknowledged the commentary of their judges and spread awareness on their names and artwork to the general public.
caption: Dalila Puzzovio in 1962 with her piece La Novia Abandonada
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