The house that his parents built when Horacio was about to be born, located in Alberdi street 62, of Temperley. Then the family would move two blocks away, to Cervantes 77, where he would spend his childhood and adolescence. Here with who he calls  “his two Titans”.

The house that his parents built when Horacio was about to be born, located in Alberdi street 62, of Temperley. Then the family would move two blocks away, to Cervantes 77, where he would spend his childhood and adolescence. Here with who he calls  “his two Titans”.

Horacio Cardo

Born in Temperley, Buenos Aires, Argentina, on May 20, 1944. Becomes a profesional cartoonist at the age of 17, working for Tía Vicenta magazine, the Sunday Suplement of newspaper El Mundo.
  At 21 receives his first Golden Medal at the Illustrators Annual Hall of Argentina, award given by two art celebrities, Demetrio Urruchúa and Raúl Soldi, in a joint exhibition at Peuser Gallery, Buenos Aires in 1965.
  It was in 1964, also, that he began to work for the Compañía General Fabril Editora, the largest Argentinean publishing house at that time and was entrusted with the illustration of a burning book, unique to the present: El Compadrito: su destino, sus barrios, su música, by Jorge Luis Borges and Silvina Bullrich, that would become an editorial success at that time.
  Taking advantage of the public’s acclaim, Fabril published other tittles illustrated by the artist: “Buenos Aires, arrabal, sainete y tango, by Domingo Casadeval and Timba, cuentos de la picaresca porteña, by León Mirlas, El Payador perseguido and El Canto del viento, both by Atahualpa Yupanqui, Antología Apócrifa, by Conrado Nalé Roxlo, Twice-Told Tales, by Nathaniel Hawthorne, among many others, covers all illustrated by the artist. Several companies summon him to illustrate covers for their books too (Siglo Veinte, Editorial Paidós, Editorial Kier, Editorial Marymar, Ediciones Dédalo, and others) where he illustrated  Death in Venice by Thomas Mann, “A world in cinema”, by Stanley Kauffmann, Gandhi, by Romain Rolland, The Second Sex, by Simone de Beauvoir, just to mention a few.
  He begins to work as a free-lance humorist with the cultural supplement of El Cronista Comercial  newspaper, and later at the Art Department of Codex.
  “Our society is marked”, according to Adorno, “by the sense of what is the same, standard taste. In the “administrative world”, the biggest danger for art is the ¨de-artification¨ (Entkunstung), which is, the loss of its artistic character, while being absorbed by this consumer society.
   Is by this time that a tornado destroys the town of Adrogué —which would be declared emergency zone— and Cardo’s house is turned into a mass of rubble.  
  Immediately he gets a job as Art Director in Discolibro SA, a company dedicated to the direct sale of cultural material, from where he changes, also as Art Director, to magazine 5 Areas.
  He tirelessly works with almost every magazine in Buenos Aires: Revista Tía Vicenta, of de diario El Mundo, revista Somos, from Editorial Atlántida, Corde Magazine, from Fundación Favaloro, Siete Días Illustrated and Panorama, from Editorial Perfil, Eroticón magazine, directed by Oscar Blotta, El ratón de occidente, magazine from La Urraca Editions, created by memorable Andrés Cascioli, Temas Magazine from Petroquímica General Mosconi, Periodismo Empresario, Acción Magazine, from Instituto Movilizador de Fondos Cooperativos, and many others.
  His presence is consolidated as Clarín newspaper’s illustrator motivates the Sociedad de Distribuidores de Diarios, Revistas y Afines (Newspaper, magazine’s Distributor’s Society) to invite him in June 1982  to participate in a cycle of lectures by Jorge Luis Borges and René Favaloro.  Cardo’s works are the framework for these landmarks of intellectuality in Argentina.
  He produces the images for the Spanish Cinema Festival, organized bythe  Spanish Embassy in Argentina and the Ministry of Culture of Spain, and soon after the ones for the French Cinema Festival, with the active organization of the French Embassy in Argentina.
     It is during this time that he designs Nuestra Ciudad magazine, published by the Secretaría de Cultura de la Ciudad de Buenos Aires, also Plural magazine and Crónicas newspaper, for the Hebraic Society in Argentina, and Acordes magazine for SADAIC (Argentine Society of Music Authors and Composers).
  In 1983 he travels to New York and stays a few blocks away from The New York Times, newspaper where he will immediately and steadily start contributing, not only in their habitual editorial page, but also with the International Herald Tribune, also known today as The Global Edition of the New York Times, printed in Paris and distributed in Europe and Asia.
  Three North American glories of visual arts, Al Hirschfeld, Brad Holland and Saul Steinberg, immediately call the newspaper to ask “Who is this artist, Cardo?”* (All the Art That’s Fit to Print. And Some That Wasn’t. Inside The New York Times Op-Ed Page by Jerelle Kraus).  Another famous artist, Jack Levine, whose work is among others, at the Metropolitan Museum of New York, also hurries to find out who this artist called Cardo is.
  The New York Times will be the professional opening door to the United States; once his work was seen, other newspapers and magazines want him. One of them is the Washington Post, for which he contributes in various sections and he even goes to Washington to meet those with whom he works. Something similar happens with the Los Angeles Times, where the Director of Art in Chief, Tom Trapnell, summons him for the Opinion page, and this relationship will last until the designer’s retirement.
     The Art Director in Chief, Judy Anderson, from Chicago Tribune, does not only promote him to illustrate articles of the newspaper, but she also introduces him to a Sunday magazine, where he does various illustrations that will result prizewinning. To these newspapers are also added The The Boston Globe, The Wall Street Journal, New York Newsday, the San Diego Union, The Sun Sentinel, from Florida, The Seattle Times and others.  In 1987 he decides to move to the United States for good and the number of media with which he contributes rises in number. Among them, we can me mention  Time and Money magazines, both from Time Corporation, BusinessWeek, Newsweek, Institutional Investor, Playboy, Bloomberg, The Nation, Slate (digital magazine published by Microsoft), Foreign Policy, Lingua Franca, Audio, Financial World, The New York University, The Progressive, Travel & Leisure, Countryside, Ms magazine, The American Prospect, American Banker,  Manhattan Lawyer, Lotus, NACLA, Food Management, Woman’s Day Special, Field & Stream, Seattle Weekly, and many others.
  Settled in Manhattan, he contributes with international magazines and newspapers, such as Le Monde, from Paris, France, London’s BBC (illustrations for video documentary), Enciclopaedia Britannica, Panorama, from Italy, Actualidad Económica, from Madrid, Courier Japan, Onze Wereld, from Holland, Science & Vie Junior, from Excelsior Publications, Paris, France, and through organized work (Inx Syndicate), with countless media around the world.
  Steven Heller would later publish a series of Cardo’s conceptual ideas in a book written in collaboration with Seymor Chavast, “Sourcebook of Visual Ideas”. Van Nostrand Reinhold, New York, U.S.A., 1989.
  He designs posters for movies and Broadway theatre plays, through Serino Coyne, from New York , and special contributions to companies not strictly of the media, such as como Mobil, CBS Records, Young & Rubicam, Lipson-Alport-Glass & Associates, The Continuum Publishing Group, Irena Chalmers Food Publications, etc.
  In 2008, Editorial Planeta, from Barcelona and El Mundo newspaper, from Madrid, decides to publish a series of sixty books each one sold together with the newspaper. The illustration of all those covers relied on Cardo.
  In one of his trips to Argentina he is hired by diario Río Negro newspaper, from General Roca, to entirely re-design the newspaper, which at the time was threatened by the imminent appearance of La mañana de Newquen newspaper.  The success is complete, when the latter goes out in the streets, the only thing people talk about is the renewed aspect of Río Negro.

 Angel Borisoff (1921, Buenos Aires - December 30, 1982), Argentine illustrator, portraitist and comic strip artist of exceptional talent, one of Horacio’s professors at the Pan-American School of Art. It was a great pride for him to have being select at 16 to be portrayed by Borisoff. A unique and invaluable gift.

Angel Borisoff (1921, Buenos Aires - December 30, 1982), Argentine illustrator, portraitist and comic strip artist of exceptional talent, one of Horacio’s professors at the Pan-American School of Art. It was a great pride for him to have being select at 16 to be portrayed by Borisoff. A unique and invaluable gift.

 First Prize of Cardo’s career, Gold Medal, at the Annual Salón of Drawing, 1965.

First Prize of Cardo’s career, Gold Medal, at the Annual Salón of Drawing, 1965.

 First edition of “El compadrito, su destino, barrios, su música”, by Jorge Luis Borges and Silvina Bullrich. Notice the extreme of his drawing at that time.

First edition of “El compadrito, su destino, barrios, su música”, by Jorge Luis Borges and Silvina Bullrich. Notice the extreme of his drawing at that time.

 “Buenos Aires, arrabal sainete y tango”, by Domingo Casadeval, and “Timba, cuentos de la picaresca porteña”, by León Mirlas. 

“Buenos Aires, arrabal sainete y tango”, by Domingo Casadeval, and “Timba, cuentos de la picaresca porteña”, by León Mirlas. 

 A world in cinema, by Stanley Kauffman, Marymar publishing house

A world in cinema, by Stanley Kauffman, Marymar publishing house

7.Gandhi.jpg
8.Payé.jpg
 Original engraving to print the cover of "Antología apócrifa", by Conrado Nalé Roxlo.

Original engraving to print the cover of "Antología apócrifa", by Conrado Nalé Roxlo.

10.Payador y Hawthorne.jpg

Annuals and books where Cardo’s work can be found

The Best of Newspaper Design, Seventh Edition, Society of Newspaper Design, U.S.A., 1986.

The Best of Newspaper Design, Ninth Edition, PBC International, Nueva York, U.S.A., 1988.

Pasquim magazine, from Sao Paulo, Brazil, published an interview in 1986. After Cardo´s first appearance in The New York Times, well known critic Steve Heller couldn’t but dedicate a good space in U&lC magazine to interview Cardo.

The Best of Newspaper Design, Tenth Edition, PBC International, New York, U.S.A., 1989.

Illustrators 31, Thirty First Annual of American Illustration, Society of Illustrators of New York, U.S.A., 1988.

Print’s Regional Design Annual/1989, Print magazine (XLIII:IV, July/August), U.S.A., 1989.

Selection of the best works in the world at the Metropolitan Toronto Convention Centre, Canada, and published in Applied Arts magazine, October 1992.

Illustrators 34.  34th Annual of American Illustration, New York, U.S.A., 1992.

Print magazine, New York, U.S.A. July – August 1993.

11.Rosencrantz Guildenstern are dead.jpg
Three views of his house and studio in Pinamar.jpg

Exhibitions

Many years would go by before Cardo would exhibit in his own country again.  He had already done many exhibitions abroad: Collective, in Knooke-Heist, Belgium, 1974 and 1976, and in Montreal, Canada, 1976, Exhibitions in la Society of Illustrators, Museum of American Illustration, New York, U.S.A., in 1988 and 1992, exhibition at the Goddard-Riverside Gallery, New York, called:  ¨Food, from pleasure to politics¨, from May 4 to May 27, 1990.
  He had also been invited to lecture, on two occasions, in November 1985 and May 1990, before the students of higher levels of Parsons School of Design, New York.
  He takes part in another collective exhibition:  “INX Fever Lines” at the Sun Yat Sen Hall, at the St.John’s University Chung-Cheng Art Gallery, from January 18 to March 2, 2001. Then from September 9 to 28, 2001, the exhibition moved to Lowe Gallery de la Syracuse University.
  The most resounding exhibition, due to its roaming, was without a doubt, “Artists of the Nation”, organized by Columbia University de New York, in collaboration with Miriam and Ira D.Wallach Art Gallery, started November 15, 1990 and ended January 26, 1991.  That exhibition was anticipated by a dissertation held by five members, amongst which was Cardo, at the Schemerhorn Hall, from Columbia University Center for American Culture, December 4, 1990. (O)
  The show is requested and moved to Harvard University, Cambridge, Massachusetts, exhibited at Josep Lluis Sert Gallery, Carpenter Center for the Visual Arts, from May 1 to June 6, 1991. The Art Center College of Design de Pasadena, California, decides to continue the exhibition at its facilities.  The event starts on June 17 and continues until August, 1992.
  Immediately, from November 4 to December 4 of that same year, it participates of the Inx collective exhibition: firing lines-political illustration 1980/1992, at the Parsons School of Design, of New York. Once it is concluded, it is moved to Paris, France.
  In June 1993, simultaneously with the World Conference on Human Rights of the United Nations, he participates in the exhibition “Human Rights, as seen by the world’s leading cartoonists”, in Vienna, Austria.   The exhibition was then taken to the City Gallery of New York by the Department of Cultural Affairs, of the named city, from September 29 to October 15, 1993. From there it would move to Washington, Chicago and San Francisco.
  From January 16 until March 1, 2003, at la Triangle Gallery, in Calgary, Canada he participates in the exhibition “Firing Lines: 20 Years of INX”, also exhibited virtually on the gallery’s website.
  As from August 27 until September 16, 2012, he participates once more with a group of artists of INX at Julian Allen Illustration Gallery en el Maryland Institute College of Art, as part of a major show that will itinerate UMass Dartmouth in September.
  In 1990, Van nostrand Reinhold, New York, U.S.A.,  published the book Newspaper Design for the Times, by Louis Silverstein, who had asked him to completely re-design the newspaper, which he did for years and then supervised the rest of designers. Each section was in the book, and to illustrate the Op-Ed Page, he chose one of Cardo’s drawings. A high distinction, if you take into account that he had some 7000 originals to chose among the best artists.
  Ricardo Cohen immediately invited Cardo to exhibit at the Teatro Argentino de La Plata, cultural venue that was at that time under Rubén Betbeder’s charge, and gave him the two halls belonging to the Emilio Petorutti space, to be able to host almost a hundred works exhibited by the artist.  
  The press didn’t take long to interview Cohen so that he could anticipate the exhibition: “I would dare to mention”, he said “that in La Plata, this will be the exhibition of the year, because really Cardo’s work is impressive”.  And he added: “I have no words to describe it, I would rather have the people see it”. Of course, these words coming from a celebrity as Ricardo Cohen (Rocambole), produced a commotion.  From May 13 until June 14, 2009, two guided visits had to be organized for art students, to which there was also general public, eager to contemplate his work and to hear from the author’s own words, the reasons and techniques that had motivated them.
  Right there, another exhibition was agreed, “Psychomigrations”, for the same year at the Centro Cultural Recoleta de Buenos Aires, under the guardianship of Elio Kapszuk. It took place from December 18 to January 24, 2010. A really controversial exhibition, because in it he presented his brand new book: “Sigmund Fraud & PXXXychoanalysis”.  In a couch city as Buenos Aires, this exhibition did not go un-noticeably.
  The invitations followed. Rubén Betbeder, Mariela Alonso, and María Celia Nemoz, promoted an exhibition by Cardo at the prestigious Museo Dámaso Arce, in Olavarría. It took place on July 4, 2010 and was extended for a month.
  A few months later, the Secretaría de Cultura de la Municipalidad de General Pueyrredón, with the support of Fundación OSDE and the hard-faced Grupo Babel, organized a mega-exhibition by Cardo that includes two of the four floors of the Municipal Museum of Art Juan Carlos Castagnino, in Mar del Plata. The exhibition is held as from January 6 to February 13, 2011, specially chosen to be supported by the amount of tourists that visit that city.  

Awards and Disctinctions

Many years after receiving the golden medal of his youth, Horacio Cardo has obtained numerous prizes throughout his professional life, which deserve to be mentioned:

2 Award of Excellence, given by the Society of Newspaper Design, U.S.A., 1984.

3 Award of Distinctive Merit, given by the Society of Publication Design, U.S.A., 1988.

Award of Excellence, given by the Society of Newspaper Design, 9th. Edition, U.S.A., 1987/88.

Nomination for the Pulitzer Prize by Jack Rosenthal, Chief Editor of the New York Times, 1987.

Certificate of Merit, given by the Society of Illustrators, 31st Annual National Exhibition, 1988.

Award of Excellence, given by the Society of Newspaper Design, 10th Edition , U.S.A., 1988/89.

Silver Award, given by the Society of Newspaper Design, 10th Edition, to the best Works of 1988/89 in the United States.

Two Certificate of Design Excellence, given by Print’s Regional Design Annual/1989.

Certificate of Design Excellence, given by Print’s Regional Design Annual /1990.

Certificate of Merit, given by the Society of Illustrators, 34th. Annual National Exhibition, Nueva York, 1992.

Silver Award, given by the Society of Dimensional Illustrators, 34th. Annual National Exhibition, Nueva York, 1992.

Award of Excellence, given by the Society of Newspaper Design, Art and Illustration, 14th.
Edition, 1992.

Certificate of Design Excellence, given by Print’s Regional Design Annual, 1993.

Certificate of Merit, given by  The Society of Publication Designers, 36th. Publication Design Competition, 2000.

Award of Excellence, given by the  Society for News Design. The Best Newspaper Design, 24th Edition, 2002

Award given by the Aydin Dogan Foundation at the XXVI Aydin Dogan International Cartoon Competition in Estambul, Turkey, 2009.

Grand Award of Illustration at the  XVIII International Hall of Design of Porto Alegre, Brazil, 2010.

Honourable Mention at the  Museo Nacional da Imprensa Portuguese of Portugal, 2010.

In 2010, The Cultural Institute of the Province of Buenos Aires, the   Museo Quinquela MartínMuseum  y la Municipality of Navarro, award Cardo with the First Prize in Painting at the First Biennial of Painting, Lucio Correa Morales.  

First prize at the Fratelli D’Italia Contest, Category “They see us like this” , February 2011.  The award was given by the Italian authorities at the Argentinean National Congress.

International Prize ¨Juan José Manauta¨ for story books, 1st Edition, 2011.  Mention of Honor to the Best Illustrated book, by the work ¨The Story of Chess¨.  

Books

1998.  Abbeville Press Publishers from New York, publishes his first fiction book, written and illustrated: The Story of Chess in English (original name in Spanish:  Dos reinos en juego, which means something like “Two kingdoms at stake”). Later, it is published in French, Portuguese and Spanish, this last edition, limited, of 10.000 copies due to the greatest chess event in history:  10080 contestants played chess at the Zócalo Plaza, Mexico city, to which the artist was invited, and the event was added to the Guiness Book of Records.

2009. Edition of “Sigmund, Fraud & Psychoanalysis”,  the text, design and illustrations belong to Cardo.

2010. Edition of “Dos reinos en juego”, (the story of chess), this time in Spanish. Once again:  the text, design and illustration belong to Cardo.