In1968, at the Venice Biennial and
in the midst of anti-establishment disorder, poetry recovered its
place for a few hours: by means of a biologically innocuous liquid
that sailors around the world use to identify vessels, Uriburu colored
the waters of the Canal Grande a fluorescent and electric green.
The stream of green dissipated, for a few moments, the dense demagogical
miasmas of the Giardini jungle. Uriburu had delivered a masterful
blow, a splendid demonstration of the moral hygiene of art.
This action in Venice became the springboard for an international
coloring campaign: Uriburu’s green was at the four cardinal
points, in two continents, coloring the most celebrated waters.
Whether akin to a traditional aesthetic, body art, land art or sociological
art, there is no hierarchy in the three media that Uriburu uses.
They are part of a single linguistic system and, as such, they are
all fully works of art.
For thirty years Nicolas García Uriburu has been ceaselessly
singing a hymn to nature, integral nature, natura naturans and natura
naturata, the nature of men and the nature of things.
Coloration of Gran Canal, Venice, 1970