This memorial is placed on a marble plinth with the sculpture of an angel at the top. The confusing wording in Spanish indicates that the memorial was erected by the government to honor Bergara Leumann on June 9, 1992 for his association as a set designer with the Botica del Angel.
It reads:
"BERGARA LEUMANN EN LIMA
670S LA BOTICA DEL ANGEL
ABRIO SUS PUERTOS EL & DE
DECIEMBRE DE 1966.
NO HAY ANGEL QUE POR BIEN
NO VENGA.
MARIA ELENA WALSH
BERGARA LEUMANN LA BOTICA
DEL ANGEL. ESTE MONUMENTO
ESTA INAUGURO EL 9 DE JUNIO
DE 1992. RECONOCIMIENTO DEL
INTENDENTE SUBSECRETERIA
DE CULTURA DE LA MUNICIPAL-
IDAD HONORABLE CONSEJO DELI-
BERANTE HOY 8-12-94 EN SUS
28 ANOS."
The text is confusing and jumbles the names of Bergara Leumann with Maria Elena Walsh...a separate person who was a member of the troupe of artists.
Wikipedia (
visit link) informs us:
"La Botica del Angel
Ornate facade of the last Botica del Angel, in Montserrat
La Botica del Angel was an original Buenos Aires artistic field created by the designer and set designer Eduardo Bergara Leumann in 1966 in the San Telmo neighborhood of Buenos Aires , Argentina through which they passed and figures of Argentine artistic means of national and international importance were initiated.
Brief History [ edit ]
He was born as an alternative theater space and exhibitions in the year 1966 , during the military government of Juan Carlos Onganía initiative of his mentor and promoter Eduardo Bergara Leumann in a theatrical sastreria Street Lima 670. He quickly established itself as an alternative center of art while the legendary Di Tella Institute .
In a space surrounded by objects, imagery kitsch and decorated with memorabilia (among others of Alfonsina Storni , Pizarnik , Silvia and Mirtha Legrand , Eva Peron , Zully Moreno , Victoria Ocampo , José Gobello , etc) and works of great Argentine artists Antonio Berni , Josefina Robirosa , Guillermo Roux , Raul Soldi , Edgardo Gimenez and others, the nonchalance of his trainer and owner convened and led the musical debuts of figures like Susana Rinaldi , Nacha Guevara , Marikena Monti , Valeria Lynch , Horacio Molina , Marilina Ross the Quartet Zupay and Leonardo Favio and shares or comebacks of legendary figures of Argentine cultural and artistic work as Libertad Lamarque , Nini Marshall , Alberto Castillo , Luisa Vehil , Manuel Mujica Lainez , Mecha Ortiz and Tania . The desacartonado and insolent atmosphere was coffee concert and the audience never knew if he was hearing or protagonist of one of the occurrences of EBL.
According to theater critic Emilio Stevanovich their characteristics by 1966 were as follows:
The Botica was a fun, cultural but mostly free and amazing show. There were no new releases therefore there was no trac the debut of the debutantes. Upon reaching the audience greeted him and the artists themselves accommodated him and loosened another for what would be the theater "adventure" of the Botica. Spectators they were handed to enter a jug of wine, donuts and a basin for personal grooming. Bergara opened portfolios as a resource to establish dialogue or a gag, because in the Botica was no script, no routine, all arose from Angel creating at the time of the meeting. The show was changed without notice. The public turned several times and brought friends to enjoy the transformation to participate. Many nights was not known whether autographs on stage or in the audience. There was a great ending. As viewers, almost all participants in the show, leaving the cast in two rows, the said goodbye personally. The more rigid and structured spectators who had participated dancing or acting, were most grateful to leave, they felt free and protagonists overnight.
At the same time, the apothecary Angel was a television channel cycle for years 7. The program had a second cycle in the 80s as the apothecary tango channel 11.
The first Botica closed its doors due to the works of widening of the Avenida 9 de Julio , to make way for a second - the Temple of the Angel in Calle Luis Saenz Pena 541 larger, in an abandoned temple Bergara Leumann redecorate and today is a museum in the neighborhood of Montserrat . The second stage of the Botica was not as successful as the first marking the beginning of the end as an alternative space.
Today integrates cultural sites of the city of Buenos Aires as a specialized field in the sixties, has 33 rooms with various scenarios. It depends on the Universidad del Salvador."