This article analyzes Oscar Bony's work La Familia Obrera (1968), in which a working class family sat on view in the gallery of the Instituto Di Tella in Buenos Aires. What might be read from the transformation of a working class family into a work of art? How was Bony's own artistic labor reconfigured in the process? How did Bony's display of a working class family engage with both the context of the Instituto Di Tella—an extension of Argentina's most prominent industrial company—and the demands for productivity made by the developmentalist dictatorship of Juan Carlos Onganía? In other words, how was this work entangled in the contradictions of modernization and, more specifically, the transnational corporations with which the Di Tella family's operations were collaborating? By May of 1968, the Instituto Di Tella had become notorious not purely for its often outrageous experiments with media and performance art but also for its funding sources, namely the Ford and Rockefeller foundations. Amidst the mobilization of the Left, many artists in Argentina that year would reject cultural institutions in favor of quasi-activist projects in the public realm, so as to imagine themselves as cultural workers. With La Familia Obrera, Bony, by contrast, produced an institutionally- reflexive gesture, negotiated from within. But much as artists and intellectuals began to understand the Di Tella as a Trojan Horse of transnational capital, so too was Bony's work not exactly what it appeared, manipulating its public through processes of surrogation.

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奥斯卡·博尼（Oscar Bony）的《家庭剧院（La Familia Obrera）：劳动与工作

本文分析了奥斯卡·博尼（Oscar Bony）的作品《家庭教堂》（La Familia Obrera，1968年），其中一个工人阶级家庭在布宜诺斯艾利斯的迪泰拉学院的画廊里坐下来观看。从工人阶级家庭转变为艺术品可以从中学到什么？Bony在此过程中如何重新配置​​自己的艺术作品？Bony对工人阶级家庭的展示如何与Instituto Di Tella（阿根廷最著名的工业公司的延伸）的背景以及胡安·卡洛斯·昂加尼亚（Juan CarlosOnganía）的发展主义专政对生产率的要求有什么关系？换句话说，这项工作是如何与现代化的矛盾纠缠在一起的，更具体地说，是迪·泰拉家族与之合作的跨国公司之间的矛盾？到1968年5月，迪泰拉学院之所以臭名昭著，不仅是因为它经常对媒体和表演艺术进行令人发指的实验，而且还因为它的资金来源，即福特和洛克菲勒基金会。在左派的动员之中，那年阿根廷的许多艺术家会拒绝文化机构而支持公共领域的准激进主义项目，从而将自己想象成文化工作者。相比之下，与La Familia Obrera一起，Boney做出了一种机构反思的姿态，这是从内部协商达成的。但是，与艺术家和知识分子开始将迪·泰拉理解为跨国资本的特洛伊木马一样，博尼的作品也并不完全是它的外观，而是通过代孕的过程来操纵公众。