Bardo

Aráoz, Bianchi, Boz, Chaile, Costantino, Duville, Faivovich & Goldberg, Giron, Lamarque, Legón, Mondongo, Pombo, Ríos, Seeber, Ulman, Woodgate

08.11.2019 - 20.12.2019 Bardo - 5 años Barro 2019 Bardo - 5 años Barro 2019 Bardo - 5 años Barro 2019 Nicanor Aráoz

Buenos Aires, Argentina Untitled Soft pastel, golden leaves 2019 and pencil on paper 165 x 130 cm Untitled Soft pastel, golden leaves 2019 and pencil on paper 165 x 130 cm (details) Untitled Sheet metal, plaster, 2015 polyurethane and laser print 198 x 113 x 70 cm Nicanor Aráoz (Buenos Aires, 1981) produces objects, installations, drawings and sculptures using as his references the comic, imagery from Internet and romantic mythologies taken from gothic art. In his works, procedures involving the making of a surrealistic object, such as the assembly of dissimilar elements and the oneiric component, take on frantic forms resembling nightmares where pleasure and pain seem to merge. Aráoz uses materials as if they expiate sadistic sensations, and takes them to the utmost limits of expressivity and torsion. In narrative scenes he mixes plaster monsters, amorphous masses of resin, trainers, neon lights and biscuits with embalmed cats, mice and birds, thus shaping a world of emotional psychedelics with visual references to the domestic environment of an adolescent

Nicanor Araoz studied Psychology and also received a scholarship from ISCP Visual Arts at National University of (International Studio & Curatorial La Plata. His latest individual projects Program) where he studied for three are Placenta escarlata (Barro, Buenos months during 2017. Aráoz was Aires 2018), Because I am never what selected by Gabriel Ritter to present I have (The Emily Harvey Foundation, a duo project with Amalia Ulman in New York 2017), Antología Genética The Armory Show (New York, 2018) (Universidad Torcuato Di Tella, and Chus Martinez included Araoz’s Buenos Aires, 2016), Glótica (Barro, work, specially commissioned for the Buenos Aires, 2015), IMNXTC (Museo collective exhibition Metamorfosi de Arte Moderno de Buenos Aires, – Lasciate che tutto vi accada 2013) and Librada (Galería Alberto (Castello di Rivoli, Turin, 2018). Inés Sendrós, Buenos Aires, 2013). Katzenstein, Lucrecia Palacios and Alejo Ponce de León have recently In 2019 he was part of Residents published a book of Aráoz’s exhibition Art Dubai curated by Munira Al Antología Genética (Mansalva, 2018). Sayegh and Fernanda brenner. He In 2019 he will be a part of Pivô in was selected by Alec Oxenford San Pablo and in 2020 he will have an Scholarship to travel to do field individual exhibition in Museo de Arte research in Tokio (2014), Kuitca Moderno de Buenos Aires. Scholarship (2010- 2011) and the Artist Program of Torcuato Di Tella He lives and works in Buenos Aires University (2009 - 2010). Aráoz has Diego Bianchi

Buenos Aires, Argentina Alambre TV Flat TV, wire and objects 2012 93 x 100 x 60 cm Diego Bianchi (Buenos Aires, 1969) genera situaciones espaciales abarcadoras donde la erosión, el desorden y la destrucción protagonizan la condición de la materia. Referente central del arte contemporáneo local, para Bianchi la práctica artística es un ámbito de ensayo e indeterminación. Sus obras, esculturas, instalaciones y performances relacionan lo abyecto, lo “sin valor”, lo obsoleto, poniendo en tensión armonía y fragilidad, horror y belleza. Plantea la posible simbiosis entre los cuerpos y los objetos, la asimilación misma del cuerpo como objeto y las interconexiones absurdas que existen entre las cosas del mundo

Entre sus mas recientes proyectos Malta Festival Poznan. Polonia, 2014; se destacan El presente está Sala TACEC del Teatro Argentino encantador, Museo de arte Moderno de La Plata, Arg, 2014), Into the de BA (2017), WasteAfterWaste en Wild Meaning en Visual Arts Center, Pérez Art Museum Miami (2015); University of Texas en Austin (2013) Suspensión de la incredulidad, Feel Free Feel Fear en Slow Burn, An MALBA (2015) y ARCO (2014), index of Possibilities, Tilburg, Holanda Under de Si, en colaboración con (2013). Market or Die, 13º Bienal de Luis Garay (Mataderos, Madrid, 2017; Estambul, Turquía (2013); 11º Biennale Bienal de Performance, BA, 2015; de Lyon, Francia (2011). Joaquín Boz

Rojas, Argentina Sin título Oil painting on wood 2018 302 x 204 cm Joaquín Boz (Rojas, 1987) creates abstract paintings and drawings in different scales, working with the characteristics that matter provides from the body and gestures. In his works, intensity is placed upon the development of the work, and the materials change according to the medium. Each work presents a different story to appreciate, both in its entirety and in the details, where the different stages of his work are perceived. His paintings and drawings are the result of loading processes on the material that cover and discover, reveal and conceal, weaken and strengthen. Every painting brings to light the presence of numerous discrete decisions and organic networks of hieroglyphic marks that register intimate and piercing conversations between the artist and his materials.

Joaquín Boz studied at the Faculty Arte Contemporáneo de Rosario of Humanities and Arts of the (Santa Fe, 2013), Bienal de Arte National University of Rosario (2005 Joven Buenos Aires (Centro Cultural - 2009) and attended workshops Konex, Buenos Aires, 2013), Premio with Claudia del Río (2009 - 2011), Braque (Universidad Nacional Tres de Ernesto Ballesteros, Rafael Cippolini Febrero, Buenos Aires, 2013), Ruth (2010) and Valentina Liernur (2012 Benzacar Galería de Arte (Buenos - 2013). He was given a scholarship Aires, 2011), Fondo Nacional de las by YPF with which he attended the Artes (Buenos Aires, 2010), Centro Artist Program of Torcuato Di Tella Cultural Parque de España (Rosario, University (2011). 2009). In 2018 he received a scholarship from ISCP (International His latest exhibitions are Los días Studio & Curatorial Program, New (Barro, Buenos Aires, 2018), New York). In 2014 Boz received the first York (Steve Turner Gallery, Los prize from the LXVIII Salón Nacional Angeles, USA, 2017); Sonido Blanco de Rosario. In 2013 he was awarded (Big Sur Galería, Buenos Aires, 2015), with the first prize for Proyect A, and Insolada (Móvil, Buenos Aires, 2014). in 2009 he won the acquisition prize Among other collective exhibitions for drawing from Salón Nacional de he participated in Castagnino Macro Santa Fe. (Rosario, 2018), Fundación Klemm (Buenos Aires, 2018), Museo de He lives and works in Buenos Aires Gabriel Chaile

Tucumán, Argentina Aguas calientes Welding and engraving on aluminium pot 2019 of Gotitas de amor. Villa Carmela, Tafí Viejo. Tucumán 50 x 61 x 50 cm Aguas calientes Welding and engraving on 2019 aluminium pot of Gotitas de amor. Villa Carmela, Tafí Viejo. Tucumán 35 x 49 x 37 cm / 34 x 26 x 32 cm Aguas calientes Welding and engraving on aluminium of Hogar Ardillitas 2019 II and Hogar Esteban Echeverría - Organización Crecer Juntos. Barrio Villa Muñecas III, San Miguel de Tucumán. 28 x 54.5 x 46 cm / 23.5 x 32 x 23.5 cm / 31 x 34 x 28 cm Untitled Oil pastel on paper 2019 40 x 30 cm each In the works of Gabriel Chaile (Tucumán, 1985) there is a critical- poetical intersection between anthropology, the sacred and its rituals, the political, and pre-Columbian communities of South America, interpreted artistically and with certain eccentricity and sense of humor. Gabriel carries out his anthropological and visual research beginning from two key concepts that are present all across the body of his oeuvre. These are the engineering of need, consisting on creating objects and structures from art that collaborate in improving the conditions of a certain borderline situation; and the genealogy of shape, which implies acknowledging that every object in its historical repetition provides a story to tell, that is recovered and updated in relation to the new context. The artist utilizes both axioms to make sculptures, do paintings, and build big scale installations that allow several communities overshadowed by history and power structures to gain visibility and have a voice. Gabriel acts like a visual anthropologist: he studies his surrounding context, deconstructs it in new morphologies, charges it with new meaning and throws it into the world in the form of objects and images inviting to reflect on the relation between each other

Gabriel Chaile studied Visual Arts at My name is legion because we are the National University of Tucumán. many (Centro Cultural San Pablo T, In 2009 he was awarded with a Tucumán, 2016), It’s not my fault if it scholarship by Fundación YPF which comes from the river (Centro Cultural allowed him to be a part of the first Recoleta, Buenos Aires 2015), Leave edition of the Artist Program of the furrow to till the earth, delusions Torcuato Di Tella University. In 2010 of grandeur II (Fondo Nacional de las he was selected to participate of Artes, Buenos Aires, 2014). Chaile was Lipac, an art program by Centro part of many collective exhibitions in Cultural Ricardo Rojas. Tucumán, Lima, Montevideo, Paris, Cuenca and Buenos Aire and in 2019 His latest works include Esta canción he participated in Bienal de Arte ya tuvo aplausos (ChertLudde, Berlín Joven (CCRecoleta, Buenos Aires, 2019), Genealogía de la forma con 2019). curaduría de Andrea Fernández (Barro, Buenos Aires, 2019), Diego, Chaile has participated in art fairs such curated by Cecilia Alemani (Art Basel as Art Basel (Basilea), The Armory Cities, Buenos Aires, 2018), Sonia (El Show (New York) and arteBA (Buenos ondulatorio, La Rioja, 2018), Proto, Aires). In 2020 he will be a part of Art a movie by Gabriel Chaiel (Galería Basel Miami Beach (Miami). Ruby, Buenos Aires, 2017), Patricia, curated by Laura Hackel (Museo de He lives and works in Buenos Aires Arte Moderno, Buenos Aires, 2017), Nicola Costantino

Rosario, Argentina Naturaleza muerta Gobelins tapestry 2019 100 x 130 cm. Ed.6 + 2 AP Naturaleza muerta Gobelins tapestry 2019 100 x 130 cm. Ed.6 + 2 AP In twenty years of production, the work of Nicola Costantino (Rosario, 1964) has evolved from sculpture, clothing, mechanical objects and installations to photography and video-installations. The body is the constant focus of her field of investigation, and the artist refers to the violent treatment it receives at the hands of consumption and fashion. Over the last decade, Costantino includes herself auto referentially in her photographic and video art productions. She portrays scenes of art history and paradigmatic female characters, constructing the subject of the image on the basis of performance and acting in careful scenographies.Costantino also carries out banquetes were she produces a staging that involves performance, gastronomy and installations, generating an integral experience for the senses, from flavour to aroma. The manufacture of her objects and images capture an acute sense of beauty provoking, at the same time, a certain atmosphere of discomfort that is hard to resolve.

Nicola Costantino studied Visual Arts Dr. Pedro E. Martínez, Paraná; ECU, with a specialization in Sculpture in Rosario; Nave Cultural, Mendoza; the National University of Rosario. Centro Cultural J.A. Conte Grand, In 1994 she worked in Barracas’ San Juan, 2012 - 2013) and Exposición workshop coordinated by Pablo Monográfica (Daros Latinoamérica, Suárez and Luis Benedit, at which time Zúrich, 2011). Costantino was part of she came to live to Buenos Aires. In numerous shows in museums around 1998 she represented Argentina in the the globe: Liverpool (1999) Tel Aviv San Pablo Biennial. Among her most (2002) and Zúrich (2011), among recent projects are Real absoluto others. (MAR, Mar del Plata, 2019), Pardés Her interest in video performance (Usina del arte, Buenos Aires, 2018), drove her to create Trailer (2019) El verdadero jardín nunca es verde a self-referential work, her first (Barro, Buenos Aires, 2016), Rapsodia cinematographic production and Inconclusa (Colección de Arte Amalia to portray an important historical Lacroze de Fortabat, Buenos Aires, feminine personality such as Eva 2015), Eva–Argentina. Una metáfora Perón in Rapsodia Inconclusa (55 Contemporánea (55 Venice Biennale Venice Biennale, 2013). In 2014 2013), Alteridad (Centro Cultural she starred in La Artefacta, an Santa Cruz, Río Gallegos; Museo autobiographical production directed Provincial Rosa Galisteo, Santa Fe; by Natalie Cristiani. Museo Provincial de Bellas Artes She lives and works in Buenos Aires. Matías Duville

Buenos Aires, Argentina El nuevo balance Oil painting and linen oil on paper 2019 150 x 246,5 cm Matías Duville (Buenos Aires, 1974) works with objects, videos and installations, although his production has mainly grown out of drawing. His works evoke scenes of desolation with rarified, timeless atmospheres like those that precede a natural disaster: hurricanes, tsunamis or situations of abandonment in the forest that represent a dreamlike vision of a wandering explorer, like a mental landscape. As a reference figure in local drawing, Duville’s work is characterised by experimentation with different mediums and materials. With his expressive strokes and procedures which reveal certain brutality, he modifies the surface by leaving traces in the representation, marks which blend the nature of matter with the landscape. The tension between opposites, mutation and time are some of the subjects that feature in his most recent works

Matías Duville studied Visual Arts Matías Duville’s works are part of in Mar del Plata. He received two many important collections such as scholarships by Funds for National the Museum of Modern Art (MoMA) Arts (2002 - 2003) and Antorchas in New York, Tate Modern of London, Foundation (2003). Duville was part Centro de Arte Reina Sofìa in Madrid, of Trama, a program of cooperation Museum of Latin American Art and confrontation between artists (MOLAA) in Los Angeles, Solomon R. (2004) and of Program of Scholarship Guggenheim Museum in New York, for Young Artists coordinated by Patricia Phelps de Cisneros’ collection Guillermo Kuitca (2003). in New York; Museo de Arte de Lima (MALI) in Perú; Museo de Arte His most recent projects include Latinoamericano (Malba) in Buenos Desert means ocean (MOLAA, Los Aires, Museo de Arte Contemporáneo Angeles, 2019), Projection Soul de Rosario (Castagnino+macro) in (Luisa Strina, São Paulo, 2019), Santa Fé. In 2016, Duville was part of Romance atómico (Barro, Buenos the scholarship InclusArtis curated Aires, 2017), The Valise Project by Pablo León de la Barra (Río de (MoMA, New York, 2017), Arena Janeiro, 2018), LARA (Latin America Parking (Art Basel, Miami, 2016; Roaming Art, Galápagos, 2016), Sam Centro Cultural Recoleta, Buenos Art Project (Paris, 2013), among Aires, 2015), Mutações (MAM, Rio others. de Janeiro, 2015), Precipitar una especie, (Barro, Buenos Aires, 2014), Among his upcoming projects, Duville Discard Geography (Ecole de Beaux will be a part of Art Basel Miami Arts, Chapelle des Petits-Augustins, Beach (Florida, 2019) and will present Paris, 2013), Safari (Malba, 2013) and a solo show in Colección Fortabat Alaska, (Drawing Center, New York, (Buenos Aires, 2020). 2013). He lives and works in Buenos Aires and Mar del Plata. Faivovich & Goldberg

Buenos Aires, Argentina París, Francia TBD (Litoteca) 2 tons of limestone in 125 pieces, 2019 wood and iron shelves 200 x 390 x 44 cm Número 45 Pigment print on cotton rag paper. 2018 104 x 104 cm. Unique piece Since 2006, Guillermo Faivovich (1977, Buenos Aires) and Nicolas Goldberg (1978, Paris) have been engaged in an intensive and wide- ranging research project—A Guide to Campo del Cielo—that forms the basis of their practice. Campo del Cielo is located in northern Argentina and was the site of a meteor shower about 4,000 years ago. Faivovich & Goldberg combine the roles of scientist, historian, anthropologist, and even bureaucrat, to conduct projects that suggest new ways of seeing and experiencing the terrestrial results of a long ago cosmic event, as well as thinking about its historical and cultural significance. For over a decade, the duo has produced a diverse body of work, laboriously mining the particularities of a singular event, Faivovich & Goldberg illuminate broadly resonant themes: the dynamics between an object and its documentation, the inherent complexities of institutional histories, and the complicated personal, cultural, and national relationships that develop with artifacts.

Some of Faivovich & Goldberg’s 2012), Los hoyos del Campo del latest projects are El Mataco (Museo Cielo y el meteorito (Fondazione Histórico Provincial de Rosario Merz, Turin, 2011), Meteorit “El Taco” Julio Marc, 2019), Mesón de fierro: (Portikus, Frankfurt, 2010). They have Towards the XXII Century (Naciones also developed presentations and Unidas, Viena, 2019), In search of presented conferences in Univeristy Mesón de Fierro (Naturhistorisches Torcuato Di Tella, Buenos Aires Museum, Vienna, 2018), Decomiso (2018), Thyssen-Bornemisza Art (ASU Art Museum, Arizona, 2018), Contemporary, Vienna (2017), Museo Un meteorito para la Sociedad de Arte Latinoamericano de Buenos Científica del año 2105 (U-Turn, Aires (2017), Dia Art Foundation, New ArteBA, Buenos Aires, 2018), York (2013), and the Massachusetts numero 11 Gwangju Biennal (Korea, Institute of Technology, Cambridge 2016), The San Juan Mass of Campo (2011). del Cielo en la Colección Guerrico (Museo Nacional de Bellas Artes, They live and work in Buenos Aires. Buenos Aires, 2014), The weight of uncertainty (Documenta 13, Kassel, Mónica Giron

San Carlos de Bariloche, Argentina Laguna (5) Beeswax, paraffin and rosin resin, Serie Lagunas 2006 - 2019 metal, fabric and steel rope 2018 - 2019 67 x 135 x 90 cm Laguna (5) Beeswax, paraffin and rosin resin, Serie Lagunas 2006 - 2019 metal, fabric and steel rope 2018 - 2019 67 x 135 x 90 cm (Details) The experience of witnessing the stunning Patagonian horizon –whose human and geopolitical contexts are being rapidly transformed– is at the very heart of the work of Mónica Giron (San Carlos de Bariloche, 1959). Through her representation of the landscape and the world as a field of metaphors from which to pose unexpected questions of a sensitive, open, ethical and moral nature, Giron creates a body of work that unfolds in her exhibitions and seminars. She anxiously observes the landscape, architecture or art, attentive to the ability of forms –and consequently of humans– to concentrate or misuse information, energy, knowledge and the power of expression. Repeatedly her work is expressed in installations, objects and analyses of forms, drawings, paintings, watercolours and site-specific projects.

Mónica Giron spent her childhood contemporary art. She has dictated and youth in last century’s Patagonia. courses in different public institutions That vital experience of territory in such as Begen’s and Oslo’s National constant transformation turned out Academy in Norway and takes part to be essential in her development since 2009 of the Program for as an artist and still resonates in her Artists of Universidad Torcuato Di works. Her curiosity takes her to Tella, Buenos Aires. Giron has given develop her capability of amazement seminars in Guayaquil, Ecuador; Porto and to keep alive the tension between Alegre, Brasil; Bariloche, Posadas, knowledge and intuition. She likes to Resistencia, Río Gallegos, y Buenos think that it is possible to balance Aires in Argentina. the emotional world and at the same time to go deep in the spiritual Her most recent individual exhibitions world and the learning of the other. are Zonas Reflejas (Barro, Buenos Giron experiences art more as a Aires, 2018) Ejercicios con el modelo performance in constant movement terrestre (Centro Cultural Recoleta, and as endless evolution than as a Buenos Aires, 2015), Fronterizo y rational closed certification. Traslación, (Galería Zabaleta Lab, Buenos Aires, 2013) and Neocriollo Giron researches and broadens (Museo de Arte Latinoamericano de horizons in artistic education. She Buenos Aires, 2007). has been working in this field since 1988 form a horizontal, collaborative She lives and works in Buenos Aires, and relational point of view regarding Argentina. Nani Lamarque

Buenos Aires, Argentina Cero encendido Polyester resin, tile and garbage 2017 100 x 17 x 15 cm Nani Lamarque (Buenos Aires, 1985) toma como referencia las propagandas y símbolos de la política latinoamericana de los últimos 15 años: por ejemplo el fenómeno que se conoce en la Argentina como la “década ganada” kirchnerista en la cual, entre otras cosas, se vio un incremento de la militancia joven y de clase media. Lamarque tergiversa enunciados, se apropia de afiches de campaña y traduce himnos partidarios. Genera una colección propia de parafernalia partidaria haciendo uso de formas que recuerdan a estructuras minimalistas y serigrafías pop de los años ’60. En sus instalaciones, recurre a la atmósfera asfixiante de la institucionalidad, infiltra tensión en los mensajes y apunta a la ambigüedad en la toma de posiciones. A su vez, pregunta por el espacio que ocupa el artista y el arte contemporáneo en la política.

Entre sus exhibiciones individuales a Bruno Depaoli (Mite, Buenos Aires, se encuentran Buenos Aires, junto 2013), La experiencia de un monstruo a Verónica Madanes, (67, New York, (Naranja Verde, Buenos Aires, 2012). 2017), La evaporación del encanto Ha participado en muestras colectivas (Barro, Buenos Aires, 2017), De tales como Estar (Alto Refugio, ositos y toritos (PrismaKH, Buenos Buenos Aires, 2018), Arte e ideología, Aires, 2015), Frente en Alto (La La Ene al aire libre (Nuevo Museo Ene, Nuevo Museo Energía de Arte Energía de Arte Contemporáneo, Contemporáneo, Buenos Aires, Buenos Aires, 2017), Video de Hoje 2013), Nuevo emprendimiento, junto (Galería Central, San Pablo, 2016). Martín Legón

Buenos Aires, Argentina La seducción de los inocentes 24 dibujos. Inkjet on paper 2019 18 x 13 cm Martín Legón (Buenos Aires, 1978) varies freely between installations, drawings, paintings and procedures such as the rescue of photographic collections. His production reveals his interest in poetically linking texts and quotes from sociology, literature and art history. Just as it happens with the juxtaposition of an assembly of cinematographic attractions, the references he chooses display chains of critical and conceptual statements. In recent years, Legón has revisited topics such as the structures of work, the production of images and the place of the artist in modern-day society. While referring to failed modernist utopias, his works may hover between romantic-idealistic atmospheres and a certain spirit of contemporary decadentism

Martín Legón has held many solo the XXX edition “La Inminencia de exhibitions, some of his most las Poéticas” curated by Luis Pérez recent ones are La seducción de los Oramas (2012). inocentes (Ángels, Barcelona, 2018), Quatrenial Shanzhai (Museo Genaro In the past few years some of his Pérez, Córdoba, 2018), Nuevos essays were published: La naturaleza pensamientos imbéciles (Barro, del artificio (Big Sur Zine, 2012), Buenos Aires, 2017), Las Fuerzas El Test del Hombre bajo la lluvia Productivas (Barro, Buenos Aires, (Arta Ediciones, 2012), Apuntes a la 2015), La vuelta al mundo… curated by Colección Globus (Big Sur Books, Inés Katzenstein and Sofía Hernández 2016) and Maleza (Editorial Ivan Chong Cuy in collaboration with Rosado, 2016). the Arts Department of University Torcuato Di Tella and Patricia Phelps Legón’s works are part of the several de Cisneros Collection (Buenos importants collection such as Centro Aires, 2014), Principios para un de Arte Dos de Mayo (CA2M) manifiesto especular (Museo de Móstoles, España; Museo Provincial Arte Contemporáneo de Rosario, de Bellas Artes Franklin Rawson Santa Fe, 2013), Así pasa la gloria de San Juan and Museo de Arte del mundo (Galería Alberto Sendrós, Contemporáneo de Rosario (Macro), Buenos Aires, 2011). He was one of Argentina. the youngest Argentinian artists to be a part of San Pablo Biennial in He lives and works in Buenos Aires. Mondongo

Buenos Aires, Argentina 43 y 45 Plasticine, cotton threads, oil, 2019 bronze pipes, raft wood and broken bottles on wood 172,5 x 124,5 x 26 cm 43 Plasticine, cotton threads, oil, 2019 bronze pipes, raft wood and broken bottles on wood. 172,5 x 124,5 x 26 cm Plasticine, cotton threads, oil, 43 bronze pipes, raft wood and 2019 broken bottles on wood. 172,5 x 124,5 x 26 cm (Details) 45 Plasticine, cotton threads, oil, 2019 bronze pipes, raft wood and broken bottles on wood. 172,5 x 124,5 x 26 cm 45 Plasticine, cotton threads, oil, 2019 bronze pipes, raft wood and broken bottles on wood. 172,5 x 124,5 x 26 cm (Details) Mondongo is an artist collective that has been working together since 1999, currently formed by Juliana Laffitte (Buenos Aires, 1974) and Manuel Mendanha (Buenos Aires, 1976). Their works call into question the conceptual relation between materiality and image. In their productions they hold discussions about themes like power, work, economy and sexuality, and generate different readings through freedom in the use of materials, taking the attention to detail on their works beyond conventions regarding size, complexity and potentiality. By using unconventional materials, such as colorful mirrors, cookies, bread, meat, threads and plasticine, manipulated with original techniques and selected according to their content, they create ironic, fantastic and critical settings, always favoring the narrative sense.

Their most recent projects include developed many performances such Tres (Barro, Buenos Aires, 2017), as (Track 16, Los Angeles, 2018); No Home - So different so appealing soy tan joven como para saberlo todo (LACMA, Los Angeles, 2017), How to (ARCOmadrid, Madrid, 2107; Bienal read el Pato Pascual: Disney’s Latin de Performance BP 15, Buenos Aires, American y Latin American Disney’s 2015), among others. (Mak Center, California, 2017), Mondongo’s works form part of Mondongo (MAXXI, Museo Nazionalle important collections worldwide such Delle Arti del XXI Secolo, Roma, 2016; as Museum of Fine Arts (Houston, Museo Provincial de Bellas Artes Texas); Museo de Arte Moderno Franklin Rawson, San Juan; Museo de Buenos Aires, (Buenos Aires); Provincial de Bellas Artes Emilio Colección Fortabat (Buenos Aires); Caraffa, Córdoba; Museo Nacional de and numerous private collections Bellas Artes de Neuquén; 2014). (Zurich, Londres, Bruselas, Dubai). In the past few years they have They live and work in Buenos Aires Marcelo Pombo

Buenos Aires, Argentina Templo de María Wooden box, cardboard box, clay with 2019 acrylic membrane, synthetic leather, polyester and cotton threads, synthetic enamel and moss with acrylic membrane. 41 x 59 x 22 cm Templo de María Wooden box, cardboard box, clay with 2019 acrylic membrane, synthetic leather, polyester and cotton threads, synthetic enamel and moss with acrylic membrane 41 x 59 x 22 cm (Detail) By the late ‘80s Marcelo Pomo (Buenos Aires, 1959) started exhibiting small works which were identified with the gay and underground culture of the time. From the start, he was part of the group of artists that exhibited their works in Centro Cultural Rojas, a place whose aesthetic production was fundamentally gravitational in the Argentine art of the ‘90s. Pombo’s work from this period was characterized by the use of materials and processes linked to decoration and melancholic handcrafts. Starting in 1999, he almost exclusively focused on creating synthetic enamel paintings on panels in which he blended different styles—surrealist and visionary landscapes, genre scenes, geometrical art and abstract expressionism. Through an obsessive and meticulous technique, he created a hypnotic and besetting effect in his oeuvre. Since 2008, his work has focussed on the past of Argentine and Latin American art - both that which remained on the margins of the modern narrative as well as the eccentric and perverse interpretations of the avant-garde canon

Marcelo Pombo has held many (Buenos Aires, 1997). He was part of individual exhibitions. Some of his numerous group shows in the United most relevant solo shows are Templos States in important institutions de barrio (Barro, Buenos Aires, such as Blanton Museum of Art 2019), Rosario Remix, nuevos y otros (Texas, 2011), Blaffer Gallery, The Art artistas del Grupo Litoral (Museo Museum of University of Houston, Castagnino+macro, Rosario, 2018), Cleveland Museum of Contemporary Marcelo Pombo, obras recientes en Art and The Southeastern Center Barro (Barro, Buenos Aires, 2015), for contemporary Art (2005), Marcelo Pombo (Jardín Oculto, Christopher Grimes Gallery (Los Buenos Aires, 2011), Lo profundo Angeles, 2001), Contemporary Art del mar (Zavaleta Lab, Buenos Aires, Center of Virginia (2001), Christopher 2010), Ocho pinturas y un objeto Grimes Gallery (Los Angeles, 2000), (Galería Ruth Benzacar, Buenos Aires, American Society (Nueva York, 1993), 2006), among others. In 2015, Inés among others. Katzenstein curated an anthological exhibition of Pombo’s work in Pombo’s works are part of important Colección Fortabat (Buenos Aires). collections: Museo Nacional de Bellas Artes (Buenos Aires), Museo Some of his most relevant de Arte Moderno de Buenos Aires, participation in group shows include Malba-Fundación Costantini (Buenos exhibitions in Museo de Arte Moderno Aires), Museo Castagnino+Macro de Buenos Aires (Buenos Aires, 2019), (Rosario), Colección Amalia Lacroze Museo Sívori (Buenos Aires, 2019), de Fortabat (Buenos Aires), Blanton Museo de Arte Latinoamericano Museum of Art (Texas) and numerous de Buenos Aires (2009), Museo private collections. Castagnino+macro (Rosario, He lives and works in Buenos Aires. 2008), Centro Cultural Recoleta Miguel Angel Ríos

Catamarca, Argentina Piedras blancas Video. One channel wall projection 2014 5’01’’. Ed 6 de 6 + 1 AP For the past three decades Miguel Ángel Ríos (Catamarca, 1953) has engaged in a poetic, and at times, unwittingly critical dissection of the discourses that have projected the art from Latin America into the international arena; from identity politics to a particular brand of Latin American postcolonialism. The indigenous past of the Americas and its incidence on the continent’s contemporary culture is a recurring theme in his work. In earlier works based on ancient cartographies of the New World, Ríos dismantled the rationale of the map, reconfiguring it into a dysfunctional model based on displacements and contingencies. This interest in ordering structures led him to work with other systems of representation such as botanical illustration, and the field methods of the naturalist and the ethnographer. He received worldwide appreciation when he first showed his work A Morir (Till Death): a ground-breaking three-channel video of audacious ambition exploring colonialism and globalization by creating a darkly romantic narrative with spinning black and white tops—’trompos’. Ríos made several works in which he expresses his primary concerns of social power struggles, violence and geopolitics on an intriguing symbolic level. In his more recent works, Ríos continues to compose powerful metaphors for violent subjects, combining control and coincidence to represent the uncertainty and temporariness of the human condition.

Born in Catamarca, Argentina, Miguel Colour, nor height (MUCEM, Marseilles, Ángel Ríos studied at the Academy of France, 2017), Landlocked (Arizona Fine Arts in Buenos Aires before moving State University Art Museum, Phoenix, to New York in the 1970s to escape the 2015), Folding Borders (Sicardi Gallery, military dictatorship in Argentina. He Houston, USA, 2013), ( Miguel Angel subsequently relocated to Mexico and Ríos (Ruth Benzacar Galeria, Buenos now lives and works between USA and Aires, Argentina, 2011), Miguel Angel Mexico.Ríos 2001 - 2008 (Malba, Buenos Aires, Ríos has had solo exhibitions at museums Argentina, 2009), A Morir (Sala de across the world, including ASU Art Arte Contemporáneo Tenerife, Canary Museum, (Temple, USA, 2015), Museum Islands, Spain, 2008), among others. of Fine Arts Houston (USA, 2013), Sala Miguel Angel Ríos’ works are de Arte Público Siqueiros (Mexico City, represented in several major collections 2013), Des Moines Art Center (Iowa, including Biblioteca Luis Angel Arango, USA, 2012), Museé d’Art Moderne de Bogotá, Colombia; Colección Patricia Saint-Étienne (2012), Museo Carrillo Phelps de Cisneros, New York, USA; Gil, (México City, 2011), Museo de Daros Latinamerica Collection, Arte Latinoamericano de Buenos Aires Zürich, Switzerland; Fundación Arte (Buenos Aires, Argentina, 2009), Maison y Mecenazgo, “la Caixa”, Barcelona, Européenne de la Photographie MEP Spain; Fundación Costantini, Museo (Paris, France, 2011 and 2009), Fries de Arte Latinoamericano de Buenos Museum (Leeuwarden, Netherlands, Aires (Malba), Buenos Aires, Argentina; 2008), and Hirshhorn Museum and Hirshhorn Museum and Sculpture Sculpture Garden (Washington, USA, Garden, Washington, USA; La Maison 2005).Européenne de la Photographie, Paris, His most recent projects include Theater France; Museo Nacional, Centro de of Operations: The Gulf Wars 1991–2011 Arte Reina Sofía, Madrid, Spain; The (MoMA PS1, New York, 2019 - 2020), Museum of Fine Arts, Houston (MFAH), Momenta Biennale (Montreal, Canada, Houston, USA; The Museum of Modern 2019), No way out (Röda Sten Konsthall, Art (MoMA), New York, USA; Pérez Göteborg, Sweden, 2019), Torn to Shreds Art Museum Miami (PAMM), Miami, (Sicardi | Ayers | Bacino, Houston, USA, USA; Philadelphia Museum of Art, 2019), On the Edge (Museum of Fine Philadelphia, USA and the Phoenix Art Arts, Houston, USA, 2019), A Morir Museum, Phoenix, USA. (To the Death) (Ackland Art Museum, North Carolina, USA, 2017), Neither Alejandra Seeber

Buenos Aires, Argentina Living Clash Oil painting on canvas 2018 149 x 203 cm Alejandra Seeber has been described as having “a dialogic” approach to painting, where intentions and chance procedures, failures, and acceptances operate together without hierarchies. She uses painting as a medium capable of absorbing other surrounding media and influences, and as a way of stretching the conventional ideas of what a picture is. She creates a cloud of images that condense in its inner-self with the lower grade of interference. Or, does she prefer to control her imagination according to the conventional rules of the narration? In this battle for domesticating symbols and updating meanings, Seeber ends up providing the images with new forms and contexts, producing multiple-layer canvases, that invite us to renegotiate the boundaries between totality and fragment, between authorship and fate

Alejandra Seeber was part of the (Fundación Proa, Buenos Aires, Scholarship Program for young artists 2009), Pinturalia, Galeria (Fernando directed by Guillermo Kuitca (Centro Pradilla, Madrid, 2008); The Pregnant Cultural Borges, Buenos Aires, 1997) painter (Virgil de Voldere Gallery, and Fundación Proa (Buenos Aires, Nueva York, 2007); Duos (Sperone 1994). Westwater, Nueva York (2003); Among her individual exhibitions are Living Rum (Dabbah Torrejón Arte Getaways (Hausler Contemporary, Contemporáneo, Buenos Aires, Lustenau, Austria, 218); Autoamerican 2002); This Room: Painting as a (Barro, Buenos Aires, 2015); Cuadro Second Language (Parlour Projects, por cuadro (Miau Miau, Buenos Brooklyn, 2001); y Serendipia (Galerie Aires, 2014); Yes-yes (Hausler de L’Alliance Française, Buenos Aires, Contemporary, Munich, 2011) Tutti 1999), among others. Frutti (Hausler Contemporari, Zurich, She lives and works in New York and 2011); Dialogville (Fundacíon Proa, Buenos Aires. Buenos Aires, 2010); Muro O’reverie Amalia Ulman

Buenos Aires, Argentina Soporte Stainless steel and rubber printed in 3D 2017 274 x 90 x 90 cm Amalia Ulman Performance. C-Type Dry Excellences & Perfections Mounted on aluminium, mounted (Instagram Update 12th June on black edge frame 2014), (#tbt fashion shoot). 125 x 125 cm. Ed 1 + 2AP 2015 Amalia Ulman Performance. C-Type Dry Excellences & Perfections Mounted on aluminium, (Instagram Update 23rd Jun mounted on black edge frame 2014), (i wanna wanna wanna 125 x 125 cm. Ed 1+AP wanna plz) 2015 The works of Amalia Ulman (Buenos Aires, 1989) and her always challenging mise-en-scènes evidence social differences and how they affect interpersonal interactions, emotions and human relationships. Working on social stratification, cultural capital, class imitation and seduction, her objective is the scrutiny of hierarchical structures, power relations, charity and empathy. Ulman is a multidisciplinary artist whose repertoire goes from early web works and online performances to new pieces that take sculptural shapes and incorporate the use of installations, photographs and performative acts. her multidisciplinary practice has involved the use of social media, magazine photoshoots, interviews, self-promotion and brand endorsements as tools for the fabrication of fictional narratives. Ulman deploys different techniques depending on the project, exhibition or group of works, trying to stir a conversation and critical tension between concept and device

Amalia Ulman is an airport-based (James Fuentes LLC, New York, 2015). artist born in Argentina but raised in Spain. She studied Fine Arts at Recent group exhibitions include Central Saint Martins in London. In Kunsthalle Bern (Suiza, 2019), Ordet parallel to her artistic career, she has (Milano, 2019), This is blitz (Malta, developed an interest for curatorial 2019), Wuzhen Contemporary Art activities, the writing of essays and (China, 2019), MCA (Chicago, 2018), literature. She is the founder and Göteborgs Konsthall (Sweden, 2018), director of the MAWU-LISA project de Young (San Francisco, 2018) and a cofounder of the Immune Arcadia Missa (New York, 2017), M Stability project, combining fashion, WOODS, Beijing, 2017), The 9th art and technology. Her essays Berlin Biennale for Contemporary Art include F/F (Friends & Favourites), (Berlin, 2016), International Center of published in specialized online and Photography (New York, 2016), Tate paper magazines. Modern (London, 2016), Whitechapel Gallery (London, 2016) and Monnaie Her most recent solo exhibitions de Paris (2015). In the last year she include Privilege (KWM Art Center, has performed in Ram Highlight Shangai 2018), Monday Cartoons 2017: Displace (Rockbund Art (Deborah Schamoni, Munich, 2018), Museum, Shanghai, 2017). She was Intolerancia (Barro, Buenos Aires, part of Bienal Sur (Museo de Artes 2017), Atchoum! (Galerie Sympa, Decorativas, Buenos Aires, 2017) Figeac, 2017), New World 1717 Her work has been featured in Art (Rockbund Art Museum, Shanghai, in America, Art Forum, Art Review, 2017), Labour Dance (Arcadia Missa, Texte Zur Kunst, The New York Times, London, 2016), Reputation, (New and The Guardian, among other Galerie, Paris, 2016), Dignity (James publications. Fuentes New York, 2016) Annals of Private History (Frieze Projects, New She lives and works in Los Angeles York, 2015) and Stock Images of War and Gijon. Agustina Woodgate

Buenos Aires, Argentina Work Out (Jornada Laboral) / 8 Analog watches EX Series Synchronous 2016 - 2019 (34 cm each), 1 MC3 Master watch, electrical transformers, electrical pipe, sandpaper. Variable measurements. Ed 5 The artistic practice of Agustina Woodgate (Buenos Aires, 1981) is focused on the study of systems, the theories of value, power relations and logics operating in society. She traces new mappings dissolving the political limits that organize paradigms, unifies languages by visiting displaced communities, materializes and evidences reigning power relations and denounces forms of domination through her works. She sands maps and bills, draws hopscotch boards, gives a voice to the silenced and work to the unemployed, creates pieces from the discarded and deconstructs major paradigms; her pieces work on the ways institutional poetics and politics organize public and private space, starting from their infrastructure and domination discourse. Utilizing a playful, polysemic, minimalist and blunt language, through sculptures, public interventions and social interactions Woodgate introduces new landscapes that address the audience and resignify the system of existing relationships. In order to do so, she transforms and reinserts the remainders of society in works of art that pave the way for new possibilities of perception and action.

Agustina Woodgate’s projects have group exhibitions at The Museum been commissioned by the Whitney of Contemporary Art North Miami Biennial, New York; Bienal de las (Miami, 2019), Faena Festival (Miami, Américas, Denver; ArtPort, Tel Aviv; 2018), Ideobox Art Space (Miami, PlayPublik, Poland; DC Commission 2018), Peabody Essex Museum on the Arts and Humanities, (Massachusetts, 2018), Bienal 4th Washington, DC; The Bass Museum Istanbul Design Biennal (Estambul, of Art, Miami; Kulturpark, Berlin; 2018), Orlando Art Museum Locust Projects, Miami y MassMOCA, (Florida, 2014), Denver Art Museum Massachusetts; among others. Some (Colorado, 2013), White Box, (New of her most recent solo exhibitions York, 2012), Gallery Nosco (London, include Cosmética (Spinello Projects, 2011), Good Children Gallery (New 2017), Común y Corriente (Barro, Orleans, 2011), Naples Museum of Buenos Aires, 2016), ABC Berlín Art (Florida, 2011), North Carolina (Spinello Project,Miami, 2015), Museum (North Carolina, 2011), Rugs (Arts and Culture Center of Montreal Biennale (Canada, 2009) Hollywood, Hollywood, 2015). and the Museum of Contemporary Art (Miami, 2007/2015). In 2011 she She has held several solo exhibitions founded Radio Espacio Estación, in institutions such as the Faena Arts a nomadic, bilingual online radio Center (Buenos Aires, 2014), Art and station. Culture Center of Hollywood (Los In 2019 she will participate in en Art Angeles, 2014) and KW Institute for Basel Public Collins Park. Contemporary Art (Berlin, 2012). She lives and works in Amsterdam and Miami Woodgate’s work participated in