Alfredo Londaibere (Buenos Aires, 1955 – 2017) was a central figure in the group of artists that coalesced around the gallery of the Centro Cultural Rojas in the late 1980s and throughout the 1990s, under the direction of Jorge Gumier Maier. He not only embodied the ethos of this influential scene but also served as director and curator of “el Rojas” from 1997 to 2002.

Trained in the workshops of painters and ceramists, and deeply versed in the history of painting and graphic design, Londaibere began exhibiting within the countercultural underground of the period. He was also actively involved in GAG (Grupo de Acción Gay), participating in the struggle for the visibility of homosexual rights during the final years of Argentina’s military dictatorship—when dissident sexualities were harshly repressed—and the early transition to democracy. He channeled the insubordinate spirit of that moment through a sustained commitment to perception, intuition, and pleasure. From a distinctly vernacular position, he championed craft, manual labor, surrealist pictorial traditions, and esotericism, in opposition to what he and his peers understood as the global dominance of rational, discursive art—perceived as an imposition from first-world cultural centers.

His work brings into dialogue European classical art, early Christianity, Baroque colonial painting, and syncretic Catholic and Afro-descendant belief systems—of which he was a devoted follower—alongside central and peripheral modernisms, avant-garde strategies and local appropriations, craft and academic traditions, elite culture and popular consumption. Painting became for him both a field of inquiry and a transformative practice, explored through diverse techniques and materials. Revisiting traditional genres, he also conceived painting as a means of accessing a spiritual dimension—one that grew increasingly explicit in his subjects, procedures, and worldview. Across paintings, assemblages, and collages, he developed a meditative mode of production grounded in aesthetic pleasure.

In 2019, the Museo de Arte Moderno de Buenos Aires honored his legacy with the major retrospective Yo soy santo, accompanied by a publication. Although widely exhibited in Argentina, His work was also included in Recovering Beauty: The 1990s in Buenos Aires (Blanton Museum of Art, Texas, 2011), an exhibition dedicated to the Rojas’ artists and their impact on the Argentine art scene. In 2015, he received the First Prize in Painting from the Central Bank of Argentina, the First Prize from Fundación Andreani, and the Second Prize in the 10th UADE National Visual Arts Competition.

Further consolidating his legacy, in 2019 the Museum of Modern Art of Buenos Aires presented Yo soy santo, the first comprehensive survey of his work. That same year, Galería Nora Fisch presented Bienvenida primavera, followed in 2022 by Colección Londaibere / El artista como curador, a two-part exhibition devoted to works from his personal collection.

In 2025, Yo soy esto, the second major retrospective of his work, curated by Rafael Cippolini, was presented at Colección Fortabat, Buenos Aires. Bringing together nearly 400 works—paintings, collages, and sketches produced between the mid-1970s and 2016, many previously unseen—the exhibition firmly established his legacy as one of the most prolific and radical artists of his generation.

His works are in the collections of Museo Reina Sofía, Madrid; Museum of Latin American Art of Buenos Aires; Espacio 23, Miami; Museum of Modern Art of Buenos Aires, among others.