HOPSCOTCH | ARTISTS INFORMATION BUENOS AIRES | AUGUST 22 | 2018

Taking place across three neighborhoods of the city, 'Hopscotch (Rayuela)', curated by Cecilia Alemani, has been conceived as a journey through the city of Buenos Aires, occupying grand plazas and striking parks, abandoned buildings and museums of curiosities, derelict architectural structures and industrial relics that are not typically devoted to contemporary art. The below artists were invited to create artworks in close dialogue with each of the venues, shaping a multilayered experience that connects visual arts, urban spaces and the city’s histories in unexpected ways. The participating artists comprise of Eduardo Basualdo, Pia Camil, Maurizio Cattelan, Gabriel Chaile, Alex Da Corte, Santiago de Paoli, Narcisa Hirsch, David Horvitz, Leandro Katz, Barbara Kruger, Luciana Lamothe, Ad Minoliti, Eduardo Navarro, Alexandra Pirici, Mika Rottenberg, Mariela Scafati, Vivian Suter and Stan VanDerBeek.

The artworks of Maurizio Cattelan, Eduardo Navarro, Leandro Katz, Ad Minoliti, Stan VanDerBeek and Luciana Lamothe will be amongst the cafés, parks and shops for which the neighborhoods of Palermo and Recoleta are known for.

In Palermo Park Maurizio Cattelan presents 'Eternity' (2018), a temporary cemetery for the living, made possible by the participation of local artists, who were invited to contribute through an open call. Nearby at the Botanical Gardens, Eduardo Navarro’s 'Polenphonia' (2018) will present seven flutists wandering through the idyllic landscape improvising a symphony in response to its surroundings. Leandro Katz has created a new version of his 1978 work 'Alfabeto lunar' (2018), originally a series of photographs documenting the 27 phases of the lunar cycle, each paired with a letter of the alphabet, presented at the Biblioteca Nacional Mariano Moreno.

At the Casa Victoria Ocampo, Ad Minoliti will install a new body of paintings and sculptures along with organizing 'Simposio sobre pintura expandida y ficción especulativa' (2018), a day-long symposium challenging a male-dominated history of culture, by hosting a critical dialogue for contemporary feminist thinkers. Visitors to the Planetarium Galileo Galilei, will discover Stan VanDerBeek’s 'Cine Dreams: Future Cinema of the Mind' (1972), an overnight event originally performed for three nights in 1972 in Rochester, New York which includes 25 simultaneous projections. While Luciana Lamothe, whose interactive installations blur the line between architecture and sculpture, will construct, 'Starting Zone' (2018), an open-air tower in the Plaza República Oriental del Uruguay. Her work references the design of tension bridges, walkways, porches, and other constructed, in-between spaces.

Downtown, the Puerto Madero and Costanera Sur neighborhoods, that have undergone large-scale regeneration in recent years, will be host to works by Santiago de Paoli, Mariela Scafati, Narcisa Hirsch, Pia Camil, Vivian Suter, Barbara Kruger, Eduardo Basualdo and David Horvitz.

The Museo de la Cáracova will host works by Santiago de Paoli, Mariela Scafati and Narcisa Hirsh. De Paoli has created a new series of paintings, 'Free Time' (2018), generating a dialogue between the works of the Museum’s collection (which includes more than 700 casts and reproductions of Egyptian, Assyrian, Greco-Roman, Gothic and

Renaissance sculptures) and his own. For 'Niebla' (2018), a site-specific installation by Mariela Scafati, the artist has created a suite of paintings and arranged them into groupings that resemble the human figure; while Narcisa Hirsch will present a selection of her seminal early films from the 1960s and '70s, revealing a key historical chapter in Argentine experimental film.

At Ex Cervecería Munich, an old German brewery, Pia Camil will present 'Gaby’s T-Shirt' (2016), an interactive artwork made out of second hand T-shirts produced in different countries across Latin America, which have then been exported to the United States and later discarded and resold in flea markets in Mexico. At the same location, Vivian Suter has created a suite of new paintings which will be hung in the hall’s terrace.

On the Silos de la Antigua Junta Nacional de Granos, Barbara Kruger will create 'Untitled (No puedes vivir sin nosotras / You Can't Live Without Us)' (2018), a large-scale mural covering an abandoned grain silo in Puerto Madero. Meanwhile, Eduardo Basualdo will take over an 800-meter stretch of fishing pier on the Río de la Plata at the Asociación Argentina de Pesca, installing sculptural and performative installations inside the huts and along the pier. While David Horvitz will create 'Señalamiento del cielo (Signaling the Sky)' (2018), a series of performances that encourage public participation with the release of two hundred helium balloons. The performances will be activated on three separate occasions in front of the Biblioteca Nacional Mariano Moreno, on the waterfront in La Boca and in front of the Ex Cervecería Munich in Costanera Sur.

The neighborhood of La Boca will play host to the work of Gabriel Chaile, Alex Da Corte, Mika Rottenberg and Alexandra Pirici.

Close to the Transbordador Bridge, the public will find a large-scale, biomorphic sculpture by Gabriel Chaile, which will double as a giant clay oven that can be used to cook and as a fireplace. The work of Alex Da Corte and Alexandra Pirici will be exhibited in the nearby Arenas Studios. Da Corte will present 'Kermit the Frog, Even' (2018) a replica of a damaged Macy’s Thanksgiving Day Parade balloon, installed among the steel beams of the abandoned cathedral of industry. In the same building Pirici will present a new iteration of 'Aggregate' (2017/2018), originally produced for the Neuer Berliner Kunstverein in 2017. Over a span of four hours and seven days, 60 performers drift through the space as a swarm, threading around the viewer. Finally, at the headquarters of the Volunteer Firemen in La Boca, Argentine artist Mika Rottenberg will show her video installation 'Cosmic Generator (BA variant)' (2017).

For further information, please visit the exhibition catalog on https://www.artbasel.com/cities/catalog/overview

INDEX OF ARTISTS AND ARTWORKS

Eduardo Basualdo, Perspective of Absence, 2018 Installation, objects, and interventions, dimensions variable Location: Asociación Argentina de Pesca, Río de la Plata, Costanera Sur

Opening hours Thursday, September 6 – Wednesday, September 12, 2018 Daily, 12pm to 8pm

Activations Ephemeral and ongoing throughout

Artist Talk Saturday, September 8, 2018, 5.30pm to 6.15pm Venue: Asociación Argentina de Pesca, Avenida Lanchas, Puerto Madero

Eduardo Basualdo, known for his large-scale, philosophical, and enigmatic sculptures, has taken over an 800-meter stretch of a fishing pier on the Río de la Plata. Fishermen’s huts dot the riverbank, which has been home to a fishing club since 1934, the Asociación Argentina de Pesca. Today the pier, located near the Reserva Ecológica Costanera Sur, has been all but forgotten, except by those who still fish there. Echoing the way in which the community relates to the river through the social ritual of fishing, Basualdo, long interested in the relationship of bodies and spaces, has installed sculptural and performative installations inside the huts and along the pier for viewers to discover and interact with. Occasionally wind, heat, or electricity will animate the works, which culminate in a large-scale installation at the far end of the pier. But like the endangered riverbank, these interventions are temporary and will erode and disappear over time.

Short Biography Born 1977 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina

Drawing from literature, psychoanalytic theory, and film, the multimedia artist Eduardo Basualdo specializes in uncanny objects and built environments that unsettle viewers’ relationships to space. With theater training as an actor and a puppeteer, he also took part in the 2010 edition of the Guillermo Kuitca scholarship at the Universidad Torcuato Di Tella. Basualdo’s works have been presented in the Biennale de Lyon (2011); the Biennale de Montevideo (2012); the Gwangju Biennale (2014); ‘All the World’s Futures’ at the 56th Biennale di Venezia (2015); and the 12th Bienal de La Habana (2015). Selected solo presentations include ‘Nervio’ at the Musée Départemental d’Art Contemporain de Rochechouart, Limoges (2013); ‘The End of Ending’ at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2016; the Museu Brasileiro de Escultura e Ecologia, São Paulo (2017); and ‘La Cabeza de Goliat’ at La Usina del Arte, Buenos Aires (2018). Since 2003 Basualdo has been part of Provisorio/Permanente, a four- person group with which he presents theatrical installations.

Pia Camil, Gaby’s T-Shirt, 2016 Approximately 300 secondhand T-shirts, 3 m x 34 m Location: Ex Cervecería Munich, Avenida de los Italianos 851, Costanera Sur

Opening hours Thursday, September 6 – Wednesday, September 12, 2018 Weekdays, 11am to 6pm Saturday and Sunday, 10am to 8pm

Activations 'Peep show' at Gaby’s T-Shirt by Diana Szeinblum (Dancer, choreographer and actress. Born in Buenos Aires in 1964) Saturday, September 8, 5pm Wednesday, September 12, 5pm

Gaby’s T-Shirt is an interactive artwork made out of secondhand T-shirts by Pia Camil, known for her colorful textile sculptures. Located in the ground floor of the former Cervecería Munich, at one time a center of German expatriate culture in the late 1920s, the work nods to the building’s past as a space for social gatherings and comments on present-day migrations of consumer goods and cultural motifs. The T-shirts, originally produced in different countries across Latin America, were exported to the United States and later junked and resold in flea markets such as the one in Iztapalapa in Mexico City, where Camil found the shirts seen here. Working with Mexican seamstresses, Camil assembled these discarded garments into a dramatic floor-to-ceiling curtain that reclaims the democracy of her materials: viewers can touch, enter, open, and close the work, and performers interact with it at set times during the exhibition. By transforming these castoff goods into a work of art, Camil reflects on the direction of economic colonization.

Short Biography Born 1980 in Mexico City Lives and works in Mexico City

Recognized for fabric-based, participatory installations that weave together craft and social practice, Pia Camil holds a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art in London. Her work has been exhibited around the world, and recent solo museum presentations include ‘Cuadrado negro’ at the Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz (2013); ‘Skins’ at the Contemporary Arts Center, Cincinnati (2015); ‘A Pot for a Latch’ at the New Museum, New York (2016), and the Shrem Museum of Art, University of California, Davis; ‘Divisor Pirata’ at the Nuevo Museo de Arte Contemporáneo, Guatemala City; ‘Bara, bara, bara’, at Dallas Contemporary (2017); ‘Fade into Black’ at the Savannah College of Art and Design Museum of Art (2018); ‘Telón de boca’ at the Museo Universitario del Chopo, Mexico City (2018); and ‘Split Wall’ at Nottingham Contemporary (through October 7, 2018).

Maurizio Cattelan, Eternity, 2018 Site-specific installation, various materials and dimensions Location: Plaza Sicilia, Av. del Libertador, between Av. Sarmiento and República de la India, Palermo

Opening hours Thursday, September 6, through Wednesday, September 12, 2018, 11am to 7pm

Maurizio Cattelan, known for satirical sculptures that often deal with life and death, presents Eternity, a collective project made possible by the participation of hundreds of members of the Argentine public, who were invited to contribute through an open call. Art students and artists were asked to create pan-religious tombstones for people who are still living, be they friends, lovers, heroes, or fictional characters. The artist has long been fascinated by cemeteries, and the tombstones occupy an area within Palermo Park to create an uncanny landscape – at once commemorative and ironic – that subverts tradition, hierarchies, the passage of time, and death. Eternity not only questions why we commemorate the dead as we do, but also gives credence to the superstition that representing a death could prolong the life of the living. Taken together, the tombstones are a funny and poignant exorcism of potential grief.

Short Biography Born 1960 in Padua, Italy Lives and works in New York, USA, and Milan, Italy

Taking aim at both art and institutions, Maurizio Cattelan is one of the most popular – as well as controversial – international contemporary artists working today. Hailing from a working-class background from northeast Italy, where he was a poor student and rebellious child, Cattelan received no formal art training but instead worked a series of odd jobs (including in a hospital morgue) that would later inform his practice. In 2011, he provoked debate with an installation of 2,000 stuffed pigeons presented at the 54th Biennale di Venezia; later that year he announced his retirement. Recent solo exhibitions include the Menil Collection, Houston (2010); ‘WE’ at the Deste Foundation Project Space, Hydra (2010); ‘All’ at the Solomon R. Guggenheim Museum, New York (2011); ‘Amen’ at the Ujazdowski Castle Centre for Contemporary Art, Warsaw (2012); ‘Kaputt’ at the Fondation Beyeler, Basel (2013); and ‘Not Afraid of LOVE’ at La Monnaie de Paris (2016). Long-term installations include L.O.V.E., in the Piazza Affari, Milan (since 2010), a monolithic sculpture of a hand sticking its middle finger out.

Gabriel Chaile, Diego (Portrait of Diego Núñez) / Diego (Retrato de Diego Núñez), 2018 Metal structure, bricks, adobe, and eggs, 2.8 m x 2.6 m x 1.7 m Location: Waterfront of La Boca, Av. Don Pedro de Mendoza between Av. Almte. Brown and Martín Rodríguez

Opening hours Thursday, September 6 – Wednesday, September 12, 2018, 10am to 6pm

Activations Sunday, September 9 and Tuesday, September 11, 2018, 1pm to 3pm

Artist Talk Sunday, September 9, 2018, 12pm to 12.45pm Meeting point: Waterfront of La Boca, Av. Don Pedro de Mendoza between Av. Almte. Brown and Martín Rodríguez

Close to his studio in La Boca, Gabriel Chaile has created a large-scale, biomorphic adobe sculpture that doubles as a giant clay oven. Drawing upon the artist’s interest in anthropology – seen through the use and reappropriation of colonial stereotypes of indigenous peoples, slaves, soldiers, and patriots in his practice – this work is the most recent in a series that transforms Pre-Columbian motifs into monumental works of contemporary art. This particular form is recognizable from Tucumán sculptures that honor the hundreds of indigenous people who were forced to work in the mines in the northern part of the country. Installed in a visible public location near the Transbordador Bridge, the work too becomes a meeting point for people coming and going, as the sculpture can be used to cook and as a fireplace. The work is named for a young local man who was killed in La Boca in 2012, and in its evocation of the communal ritual of food, seeks to bring the neighborhood together once again in remembrance and dialog.

Short Biography Born 1985 in Tucumán, Argentina Lives and works in Buenos Aires, Argentina

Gabriel Chaile works with humble materials like adobe, eggs, and wood to create objects and installations that combine the ancient traditions of his indigenous origin with socially relevant topics of today. Hailing from northwest Argentina, Chaile studied plastic art at the Universidad Nacional de Tucumán. In 2009 he received a scholarship to carry out the

Artists Program of the Universidad Torcuato Di Tella in Buenos Aires. Since 2015, he has been associated with La Verdi, an artists’ cooperative in the neighborhood of La Boca. Selected recent solo and group exhibitions include ‘El principio de la belleza está en el fin de la misma’ at the Centro Cultural Borges, Buenos Aires (2011); ‘Todas las cosas eran comunes’ at Galería Alberto Sendros, Buenos Aires (2012); ‘Salir del surco al labrar la tierra’ at the Fondo Nacional de las Artes, Buenos Aires (2014); ‘Hacer con lo hecho’ at the Museo de Arte Moderno, Cuenca (2015); ‘My Buenos Aires’ at La Maison Rouge, Paris (2015); ‘No es culpa mía si viene el río’, at the Centro Cultural Recoleta, Buenos Aires (2015); the Bienal de Montevideo (2016); and ‘Patricia’ at the Museo de Arte Moderno de Buenos Aires (2017).

Alex Da Corte, Kermit the Frog, Even, 2018 Vinyl, approximate dimensions: 18 m x 5 m x 7 m Location: Arenas Studios, Av. Don Pedro de Mendoza 965, La Boca

Opening hours Thursday, September 6 – Wednesday, September 12, 2018, Arena III, 10am to 6pm

Alex Da Corte’s immersive installations use light, sound, and color to present familiar images and objects in new and unsettling ways. Kermit the Frog, Even is a replica of a damaged Macy’s Thanksgiving Day Parade balloon depicting the Jim Henson character. The balloon was used repeatedly over the years until it was accidentally deflated when it ran into a tree during the 1991 parade and was afterward permanently retired. With its larger-than-life balloon characters floating above the streets of New York, the Macy’s Thanksgiving Day parade is a wholesome American tradition, but the image of an impaled Kermit the Frog hints at a sinister reality that might lie beneath a veneer of prosperity – an impression Da Corte underscores by placing the deformed frog in a former power plant. Installed among the steel beams of Arenas Studios, Kermit the Frog, Even, is once again trapped – this time not in a public, televised pageant, but in an abandoned cathedral of industry, permanently immobile and alone.

Short Biography Born 1980 in Camden, New Jersey, USA Lives and works in Philadelphia, USA

Alex Da Corte is a painter, sculptor, installation, and video artist whose fun-house environments instill a gothic overtone to pop art. He studied film at the School of Visual Arts in New York and printmaking at the University of the Arts, Philadelphia, before earning an MFA from the Yale University School of Art in 2010. He was awarded a Pew Fellowship in the Arts in 2012 and selected for the Biennale de Lyon in 2015. His recent solo exhibitions include ‘Easternsports’ at the Institute for Contemporary Art, Philadelphia (with Jayson Musson, 2014); ‘Le miroir vivant’ at the Museum Boijmans van Beuningen, Rotterdam (2015); ‘Free Roses’ at the Massachusetts Museum of Contemporary Art, North Adams (2017); ‘Slow Graffiti’ at Secession, Vienna (2017), and ‘Harvest Moon’ at the New Museum, New York (2017). He has also participated in group shows at the Whitney Museum of American Art in New York (2017), the Louisiana Museum of Modern Art, Humlebæk (2016), and more.

Santiago de Paoli, Free Time, 2018 Plaster, milk, and pigment, 20-25 elements, each approximately 35 cm x 45 cm Location: Museo de la Cárcova, Av. España 1701, Costanera Sur

Opening hours Thursday, September 6, through Wednesday, September 12, 2018, 10am to 6pm

Artist Talk Sunday, September 9, 2018, 4pm to 4.45pm Venue: Museo de Calcos y Escultura Comparada Ernesto de la Cárcova, 1701 Avenida España, Puerto Madero

Painter, sculptor, and installation artist Santiago de Paoli has created a new series of paintings, Free Time, and installed them in the Museo de la Cárcova, named for its founder, the artist Ernesto de la Cárcova. The museum, which holds more than 700 casts and reproductions of Egyptian, Assyrian, Greco-Roman, Gothic, and Renaissance sculptures from European museums, was established in 1928 to teach art students using faithful replicas of historical masterworks. De Paoli’s omnivorous, process-based work – which ranges from sculptural installations that mix found objects with abstract structures to paintings that ally body parts with symbolic shapes – finds a rich ground in this ersatz environment. For this group of works, De Paoli responded to the collection directly, playing with techniques and materials used in reproductions. He then placed his originals throughout the building, creating a dialogue with the works of the collection.

Short Biography Born 1978 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina

Executing his drawings and paintings on unusual supports such as felt or plaster, Santiago de Paoli blends the figuration and abstraction with more than a hint of the surreal – an effect he often heightens through poetic installations of seemingly incongruent objects. He received a BFA from the Atlanta College of Art in 2004, and was a resident at the Skowhegan School of Painting and Sculpture in 2006. A selection of recent exhibitions include: ‘Mendoza’ at Mendoza 2321, Buenos Aires (2014); ‘Omnidireccional’ at the Centro Cultural Recoleta, Buenos Aires (2015); ‘Pescado y Papas’ at Wireless Ridge, Stanley, Falkland Islands (2015); ‘Entre nosotros y el objeto’ at Móvil, Buenos Aires (2016); ‘José Antonio Suarez Londoño y Santiago de Paoli’ at Lulu, Mexico City (2017); ‘Symbolisms’ at Cooper Cole Gallery, Toronto (2017); and ‘Dormir au soleil’ at Galerie Jocelyn Wolff, Paris (2018).

Narcisa Hirsch

A selection of early films Marabunta, 1967 Black-and-white and color 16 mm film and sound transferred to video Duration: 7’55’’

Manzanas (Apples), 1973 Black-and-white and color 16 mm film and sound transferred to video Duration: 4’29”

Pink Freud, 1973 Color 16 mm film and sound transferred to video

Duration: 8’52’

Patagonia, 1976 Color 16 mm film and sound transferred to video Duration: 18’08’

Mujeres (Women), 1970-85 Super 8 film and sound transferred to video Duration: 24’38’’

Testamento y vida interior (Testament and Inner Life), 1976 Super 8 film and sound transferred to video Duration: 10’38’’

Location: Museo de la Cárcova, Av. España 1701, Costanera Sur

Opening hours Thursday, September 6 – Wednesday, September 12, 2018, 10am to 6pm

Screenings Continuous screenings during opening hours

Narcisa Hirsch’s experimental films form an important chapter in the history of the Argentine avant-garde. Exploring female identity, mortality, eroticism, and violence, her work took on the political issues of her day, connecting personal narratives to larger social histories. Hirsch was born in Germany and emigrated to Argentina in the late 1930s. By the 1960s, Hirsch had abandoned her training as a painter to participate in the performances and happenings throughout the 1960s and 1970 in Buenos Aires, originating such legendary actions as Marabunta (1967) and Manzanas (1973), which formed the basis for her first films. ‘Hopscotch (Rayuela)’ presents a selection of her seminal early films from the 1960s through the 1980s, revealing a key chapter in the history of Argentine experimental film and feminist art.

Short Biography Born 1928 in Berlin, Germany Lives and works in Buenos Aires, Argentina

Well-known in Argentina, but less so internationally, Narcisa Hirsch has worked for decades creating experimental films that depict the body and domestic life as means of feminist critique. Early in her career, her paintings were exhibited at the Lirolay Gallery, one of the most important avant-garde spaces of Buenos Aires during the 1960s. She was affiliated with happenings throughout the ’60s and ’70s in Buenos Aires and collaborated on projects at the Anthology Film Archives and the Millennium Film Workshop in New York. Hirsch became a leading figure of the Latin American structural cinema scene, alongside Marie Luise Alemann, Claudio Caldini, and Horacio Vallereggio, among others. She was recently honored with a retrospective at the Vienna International Film Festival (2012) and the Goethe Institute in Toronto (2013), and her works were presented at Documenta in Athens (2017).

David Horvitz, Señalamiento del cielo (Signaling the Sky), 2018 200 balloons, each with one mile of string Dimensions variable

Performances Friday, September 7, 5pm to 7pm Esplanade of the Biblioteca Nacional Mariano Moreno, Agüero 2502, Recoleta

Sunday, September 9, 4pm to 6pm Waterfront of La Boca, near Av. Don Pedro de Mendoza 2200

Wednesday, September 12, 4pm to 6pm In front of Ex Cervecería Munich, Av. de los Italianos 851, Costanera Sur

Artist Talk Sunday, September 9, 2018, 5.15pm to 5.45pm Venue: Fundación PROA, 1929 Avenida Don Pedro de Mendoza, La Boca

American artist David Horvitz, whose works often juxtapose man-made systems and natural phenomena, has created Señalamiento del cielo (Signaling the Sky), a series of performances that encourage public participation – especially by children – as the work is realized by the release of 200 helium balloons in each of three locations. The spontaneous route of each balloon string as it disappears into the air is an homage to the French artist Marcel Duchamp, who spent a little-known sojourn in Buenos Aires from 1918 to 1919. During this period, the godfather of conceptual art sent his sister instructions for a work he titled Unhappy Readymade: hang a geometry book on a clothesline and subject it to fluctuating weather conditions. Similarly pairing arithmetic (each balloon string is exactly one mile long) with unpredictable forces, Señalamiento del cielo (Signaling the Sky) illustrates man’s sublime futility in the face of nature. The aerial landscape produced by the balloons is a celebration of collective ritual and at the same time a rejection of the industrial city, as our eyes are drawn irresistibly toward the sky. The title is a reference to Argentinian conceptual artist Edgardo Antonio Vigo‘s Señalamientos series, which invites the public to perceive everyday objects as readymades.

Short Biography Born 1982 in Los Angeles, USA Lives and works in Los Angeles, USA

David Horvitz is an American conceptual artist known for his diverse practice spanning media and subject matter. The founder of Porcino gallery in Berlin, he studied at the University of California, Riverside, and received his MFA from Bard College. Recent solo exhibitions include ‘POST’ at the Kunsthal Charlottenborg, Copenhagen (2013); Art Basel Statements with ChertLüdde, Basel (2013); ‘Gnomons’ at the New Museum, New York (2014); ‘Situation #20’ at the Fotomuseum Winterthur (2015); and ‘Água Viva’ at Belo Campo, Lisbon (2018). His work was included in ‘Ocean of Images: New Photography 2015’ at the Museum of Modern Art, New York (2015); ‘The Distance of a Day: New in Contemporary Art’ at the Israel Museum, Jerusalem (2016); ‘Sea’ at MOCAK, the Museum of Contemporary Art, Krakow (2016); ‘Tidalectics’ at Thyssen-Bornemisza Art Contemporary (TBA21), Vienna (2017); ‘Days are Dogs: Carte blanche à Camille Henrot’ at the Palais de Tokyo, Paris (2017); and ‘Take me (I’m Yours)’ at Villa Medici, Rome (2018). Some of his many artist books include Sad Depressed People (New Documents, Los Angeles, 2012); Stolen Spoons (Pork Salad Press, Copenhagen, 2015); Océan (Yvon Lambert, Paris, 2017); and A Disappearance from Winschoten (Shelter Press, Rennes, 2017).

Leandro Katz, Alfabeto lunar / Lunar Alphabet, 2018 Polished cement and bronze, 27 tiles, each 80 cm x 120 cm Location: Biblioteca Nacional Mariano Moreno, Agüero 2502

Opening hours Opens Thursday, September 6, 2018, ongoing.

Artist Talk Thursday, September 6, 2018, 5pm to 5.45pm Venue: Biblioteca Nacional, Agüero 2502, Recoleta

The writer, conceptual artist, and filmmaker Leandro Katz has created a new version of his 1978 work Alfabeto lunar, originally a series of photographs capturing the changing light on the surface of the moon. The work was a document of the 27 phases of the lunar cycle, each paired with a letter of the alphabet – enough entries to include the Spanish letter Ñ. This new version is installed as 27 tiles on the entryway patio to the National Library, where excavators during its construction discovered the fossils of prehistoric glyptodons (giant armadillos), known in mythology as ‘eggs of the moon.’ (The discovery was especially uncanny, as the building’s form, standing on four legs and enclosed by a shell, resembles that of a glyptodon.) Each tile has been created using three shades of cement that are separated by bronze outlines, mimicking certain sidewalk designs in the city. With its unique location and fabrication, Alfabeto lunar / Lunar Alphabet is both a direct homage to the famed collection of astronomy books within the library’s stacks and a nod to the sidewalk tiles of Buenos Aires, which occasionally carry poems and instructions for how to dance the tango. A small exhibition of related works is on view in the library’s Sala Leopoldo Lugones on the lower level.

Short Biography Born 1938 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina, and Los Angeles, USA

Leandro Katz is a writer, filmmaker, and artist who has been working between Latin America and the United States for over four decades. He is the recipient of a Guggenheim Fellowship (1979) and grants from the National Endowment for the Arts (1992, 1995), the New York State Council for the Arts (1990), the Jerome Foundation (1982, 1992), and the Rockefeller Foundation (1993). Selected recent exhibitions include ‘Encuentros de Pamplona 72: fin de fiesta del arte experimental’ at the Museo Reina Sofía, Madrid (2009); ‘Imán-New York’ at Fundación Proa, Buenos Aires (2010); ‘10000 Lives’ at the 8th Gwangju Biennale, South Korea (2010); ‘Leandro Katz: Arrebatos, Diagonales y Rupturas’ at the Espacio Fundación Telefónica, Buenos Aires (2013); ‘Intersections (after Lautréamont)’ at the Cisneros Fontanals Art Foundation, Miami (2015); ‘Borges: Ficciones de un tiempo infinito’ at the Centro Cultural Kirchner, Buenos Aires (2016); ‘El rastro de la gaviota’ at Tabacalera, Madrid (2017); and ‘Proyecto para el día que me quiera y otros fantasmas’, Museo Universitario de Arte Contemporáneo, Mexico City, and Proa21, Buenos Aires (2018).

Barbara Kruger, Untitled (No puedes vivir sin nosotras / You Can't Live Without Us), 2018 Painted mural, approximate dimensions: 30 m x 68 m Location: Silos de la Antigua Junta Nacional de Granos, Puerto Madero

Opening hours Daily from September 6. Long-term installation.

Barbara Kruger is an American artist who works with pictures and words. Known for her pointed social commentary, she has created a site-specific installation that integrates text-based murals into the Buenos Aires cityscape. Untitled (No puedes vivir sin nosotras / You Can't Live Without Us) is a large-scale mural painted in the colors of the Argentinian flag covering an abandoned grain silo in Puerto Madero. Standing directly in view of Santiago Calatrava’s Puente de la Mujer, the mural reads (in Spanish), “You can’t live without us / power / pleasure / property / equality / empathy / independence / doubt / belief / women.” Below, it asks: “Who owns what?” Behind the silos are the Parque Mujeres Argentinas, which was dedicated to the women of Argentina in 2007 after decades of civic near-invisibility, while the neighboring streets commemorate major female figures like Juana Manso, Marta Lynch, and Manuela Sáenz. The forceful – yet hopeful – emblazoning of such a message onto the very face of the city continues Kruger’s commitment to feminist themes and offers solidarity to the country’s active women’s movement.

Short Biography Born 1945 in Newark, New Jersey, USA Lives and works in Los Angeles and New York, USA

Barbara Kruger is among the most influential artists of her generation, known for public and large-scale installations incorporating text with mass media imagery. She has exhibited extensively throughout the world, and selected recent solo presentations include ‘Belief + Doubt’ at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2012); ‘Believe + Doubt’ at the Kunsthaus Bregenz (2013); ‘In the Tower: Barbara Kruger’ at the National Gallery of Art, Washington, D.C. (2016); and ‘Base’, at the Stedelijk Museum, Amsterdam (2017). Her work has also been featured in the group exhibitions ‘Fire and Forget: On Violence’, at the KW Institute for Contemporary Art, Berlin (2015); ‘Co-thinkers’, at the Garage Museum of Contemporary Art, Moscow (2016); ‘An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017’, at the Whitney Museum of American Art, New York (2018); ‘Unspeakable: Atlas, Kruger, Walker’, at the Hammer Museum, Los Angeles (2018); and ‘Brand New: Art and Commodity in the 80s’, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2018).

Luciana Lamothe, Starting Zone, 2018 Metal pipes, plywood, clamps, 6.4 m x 6.4 m Location: Plaza República Oriental del Uruguay, near Av. Pres. Figueroa Alcorta 2900, between Austria and Tagle, Recoleta

Opening Hours Thursday, September 6 – Wednesday, September 12, 2018, 10am to 8pm

Artist Talk Saturday, September 8, 2018, 4.15pm to 5pm Venue: Plaza República Oriental del Uruguay, Recoleta

Luciana Lamothe, whose interactive installations blur the line between architecture and sculpture, has constructed an open-air tower in a green space of the Plaza República Oriental del Uruguay. Her works, referencing the design of tension bridges, walkways, porches, and other constructed, in-between spaces, are usually made from industrial

materials such as plywood, scaffolding pipes, and iron. These are left uncovered, as if a section of a building has been sliced open and the outer layers peeled away. The viewer not only sees the sort of internal structure that would otherwise be invisible, but is invited to climb on, sit in, stand on, and interact with it, as with Starting Zone: viewers may mount the metal and plywood tower and assume a bird’s-eye view of the plaza that had never before existed. With construction methods that are apparent, vulnerable, and anxious – the tower is held together only by clamps – visitors may feel a euphoric lightness, as if suspended in air, or a crippling vertigo, as they realize the fragility of the built spaces we inhabit.

Short Biography Born 1975 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina

Luciana Lamothe is an installation artist known for kinetic sculptures resembling architectural elements. She received a degree from the National School of Fine Arts Prilidiano Pueyrredon, Buenos Aires, in 1999, and studied under Guillermo Kuitca at the Universidad Torcuato Di Tella between 2010 and 2011. In 2011, she was the recipient of the First Prize of the Lichter Art Award in Frankfurt, Germany, and the First Prize of the Itaú Cultural Award, Buenos Aires. Recent solo exhibitions include ‘Contacto’ at the Museo de Arte Moderno de Buenos Aires (2013); ‘Metasbilad’ at Prisma KH, Buenos Aires (2016); and ‘Ensayos de Abertura’ at Ruth Benzacar, Buenos Aires (2018). Her work was included in the Berlin Biennale (2008); ‘Arte in Loco’, at the Da Maré Museum, Rio de Janeiro (2010), ‘Fluiten in het donker’ at De Appel, Amsterdam (2011); the Lyon Biennale of Contemporary Art (2011); and ‘Nouvelles Vagues’, at the Palais de Tokyo, Paris (2013); the Bienal de Montevideo (2016); and ‘Lugar: Contingencias de uso’ at the Centro Galego de Arte Contemporánea, Santiago de Compostela (2017).

Ad Minoliti, Symposium for expanded painting and speculative fiction, 2018 Installation and video documentation of one-day event, dimensions variable Location: Casa Victoria Ocampo, Rufino de Elizalde 2831, Palermo

Opening Hours Thursday, September 6, through Wednesday, September 12, 2018, 12pm to 8pm

Activation Symposium: Saturday, September 8, 2018, 2pm to 8pm (in Spanish); exhibition ongoing September 6-12, 2018

For Art Basel Cities in Buenos Aires, Ad Minoliti will create a feminist-art school in Casa Victoria Ocampo, the first rationalist building in Buenos Aires and home of the proto- feminist intellectual Victoria Ocampo. Intervening in the rationalist style with colorful murals and panels, Minoliti will build a feminist school, a space to be used by the community that will host theory-based classes and practical exercises that explore themes not typically included in art school curricula in Buenos Aires, such as “Nature, Culture and Neo Materialism,” “Cyborgs,” “Violence in the Medical System,” etc.

Speakers: Antiprotocolo Antifachxmachx / Cristina Schiavi / Femimutante Editorial, de María Ibarra y Julia Inés / Nicolás Cuello / Santiago Villanueva / Serigrafistas queer / Lucas Morgan Di Salvo y Fermín Acosta / Graciela Hasper / Archivo de la Memoria Trans

Whether in paintings and installations that tackle queer theory or as cofounder of the feminist art collective PintorAs, Ad Minoliti makes little distinction between life and

practice: both serve as vectors for challenging social hierarchies in art and politics. Once again reaching beyond the boundaries of the canvas, Minoliti has not only installed a new body of paintings and sculptures in the Casa Victoria Ocampo – designed in 1928, it was the first Rationalist home in Buenos Aires, commissioned by the progressive intellectual Victoria Ocampo – but has also organized a daylong symposium to explore themes outside the canon of Argentinean art-school curricula. Historically, the Casa Ocampo entertained luminaries of the Modernist era: Le Corbusier, André Malraux, and José Ortega y Gasset, among others. For Art Basel Cities, Minoliti challenges a male- dominated history of culture by hosting a critical dialog for contemporary feminist thinkers across disciplines in this storied space, now the home of El Fondo Nacional de las Artes. The event will be filmed and later screened on a loop within the installation.

Short Biography Born 1980 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina

Ad Minoliti is a contemporary Argentine artist known for colorful geometric paintings and installations. She earned a BFA from the National Academy of Fine Arts Prilidiano Pueyrredón in Buenos Aires in 2003, completed her formation with Diana Aisenberg in 2006, and was part of the Centro de Investigaciones Artísticas from 2009 to 2011. She is the recipient of numerous prizes, including grants from the Ministry of Culture of Argentina, the Metropolitan Fund for the Arts of Buenos Aires, and Mexico’s Fondo Nacional para la Cultura y las Artes. Her work has been exhibited at galleries, institutions, and museums in Los Angeles, Puerto Rico, London, San Francisco, Berlin, Panama, Mexico, New York, Miami, Paris, Peru, Spain, Ireland, Bolivia, Chile, and Austria, among other locations. She participated in the Bienal del Mercosur in Porto Alegre (2015), the Aichi Triennale in Japan (2016), and the FRONT International: Cleveland Triennal for Contemporary Art (2018). In 2018, she is taking part in residencies at Casa Wabi, Oaxaca, and the Kadist Foundation, San Francisco.

Eduardo Navarro, Polenphonia, 2018 Musical choreography for seven flute players, dimensions variable Location: Jardín Botánico, Av. Santa Fe 3951, Palermo

Performances Thursday, September 6 – Wednesday, September 12, 1pm to 5pm

The work of Eduardo Navarro defies classification, encompassing performance, drawing, and installation and musing on the conditions of art-making and the natural world. Fascinated by our biological perceptions, he often uses performers (including himself) not simply as actors but as agents whose physical senses – tasting, hearing, seeing, feeling, and touching – guide the meaning and direction of the work of art. For Polenphonia, seven flutists wander through the idyllic landscape of the Jardín Botánico while wearing masks specially designed by Navarro to enhance their senses of smell. In this hyper- attuned state, they improvise a symphony in response to the lush floral fragrances and avian songs of the garden, both mimicking their surroundings and, in turn, pollinating the air with abundant sound.

Short Biography Born 1979 in Buenos Aires, Argentina Lives and works in Buenos Aires, Argentina

Eduardo Navarro investigates different ways of transforming our senses in order to have a new understanding of our world. His works range from large-scale sculptures to actions and participatory installations that investigate empathy and contemplation. Recent solo exhibitions include ‘Órbita’ at the Universidad Torcuato Di Tella, Buenos Aires (2013); ‘Octopia’ at the Museo Rufino Tamayo, Mexico City (2016); ‘We Who Spin Around You’ for High Line Art, New York (2016); and ‘Into Ourselves’ at Der Tank, Basel, and the Drawing Center, New York (2017-18). His work has also been included in group shows such as the Mercosul Biennial (2009 and 2013); the Bienal de São Paulo (2010 and 2016); ‘Surround Audience: The New Museum Triennial’, the New Museum, New York (2015); the Sharjah Biennial (2015); ‘La era metabolica’ at the Fundación Malba, Buenos Aires (2015); and ‘Metamorfosi’ at the Castello de Rivoli, Turin (2018).

Alexandra Pirici, Aggregate, 2017/2018 Performative environment, duration: 4 hours Location: Thursday, September 6 – Monday, September 10, 2018, Arenas Studios, Frank Studio, Av. Don Pedro de Mendoza 965, La Boca Tuesday, September 11, and Wednesday, September 12, Paseo de La Rambla, Av. Dr. Tristán Achával Rodríguez 1400 at Azucena Villaflor, La Boca

Performances Thursday, September 6 – Monday, September 10, 2018, Arenas Studios, Frank Studio, 1pm to 5pm

Tuesday, September 11, and Wednesday, September 12, 2018, Paseo de La Rambla, 2pm to 6pm (or Arenas Studios in case of rain)

Exploring both the history and the function of gestures in visual art and popular culture, Alexandra Pirici choreographs complex “performative environments” that activate a space with dozens of dancers or actors. For ‘Hopscotch (Rayuela)’ the artist offers a new iteration of Aggregate, originally produced for the Neuer Berliner Kunstverein in 2017. Over a span of four hours on seven days, 60 performers drift through the space as a swarm, threading around the viewers. Pirici‘s performers enact motions and sounds that represent our cultural heritage – from ocean waves to Depeche Mode’s Enjoy the Silence – the type of shared references that might be fit for a time capsule intended to give future extraterrestrials a sense of life on planet Earth. By identifying and ennobling, momentarily, these fragments of a collective conscious, Pirici urges us to confront our commonalities and envision society itself as a subjective, living body of mutual memories.

Short Biography Born 1982 in Bucharest, Romania Lives and works in Bucharest, Romania

Alexandra Pirici is a Romanian artist and choreographer whose performances and installations explore history and invisible structures of power, in both galleries and public spaces. Her work was shown in the Romanian pavilion at the 55th edition of the Venice Biennial (2013); at Manifesta 10, St. Petersburg (2014); at the Berlin Biennale (2016); and in the decennial exhibition Skulptur Projekte Münster (2017). She has also presented her performative environments at Hebbel am Ufer, Berlin (2014); the Centre Pompidou, Paris (2014); the Van Abbemuseum, Eindhoven (2014-15); the Museum of Modern Art, Warsaw (2015); Tate Modern, London (2015); and the New Museum, New York (2018), among many others.

Mika Rottenberg, Cosmic Generator (BA variant), 2017 Video, 26 minutes, 37 seconds Location: Cuartel de los Bomberos Voluntarios de La Boca, Brandsen 567, La Boca

Opening hours Thursday, September 6 – Wednesday, September 12, 10am to 6pm

Mika Rottenberg, known for her video installations exploring the dual seduction and desperation of our hyper-capitalistic, globally connected world, has chosen La Boca – historically the melting pot of immigrant cultures in Buenos Aires – for her first exhibit in her native Argentina. Documenting the chaos of culture clashes, Cosmic Generator is set between the Yiwu wholesale market in Zhejiang, China, and the neighboring border towns of Mexicali, Mexico, and Calexico, California. Each location is represented by real spaces – the plastic vendors of Yiwu, the bargain shops of Mexicali, and a Chinese restaurant in Calexico – but a surrealist sequence of events overtakes the film. In this parallel world, fabricated tunnels move goods and people among these disparate places. Viewers are given a fictional, allegorical window into a complex industrial mire: the camera pans rooms, funnels down narrow passages, and crosses walls, capturing the complex network of labor, global trade, and human migration that characterizes the contemporary economy.

Short Biography Born 1976 in Buenos Aires, Argentina Lives and works in New York, USA

Mika Rottenberg is a video and installation artist whose works probe such topics as labor, gender, and hidden power structures. She earned an MFA from Columbia University in New York in 2004 and has exhibited internationally in solo shows including ‘Sneeze to Squeeze’ at Magasin 3 in Stockholm (2013); ‘Squeeze: Video Works by Mika Rottenberg’ at the Israel Museum (2014); at the Palais de Tokyo, Paris (2016), at the Kunsthaus Bregenz (2017); and at the Bass Museum, Miami Beach (2017-18). Her video NoNoseKnows was included in ‘All the World’s Futures’ at the Biennale di Venezia (2015). Her film Cosmic Generator, which debuted at Skulptur Projekte Münster in 2017, is also featured in the American pavilion of the 16th International Architecture Exhibition in Venice through November 2018. Forthcoming exhibitions include the inauguration of the new Goldsmiths Centre for Contemporary Art in London in September 2018 and a solo show at the Museo d'Arte Moderna di Bologna in December 2018.

Mariela Scafati, Niebla, 2018 Paintings, dresses, and ropes, dimensions variable Location: Museo de la Cárcova, Avenida España 1701, Costanera Sur

Opening hours Thursday, September 6 – Wednesday, September 12, 10am to 6pm

Artist Talk Sunday, September 9, 2018, 3pm to 3.45pm Venue: Museo de Calcos y Escultura Comparada Ernesto de la Cárcova, 1701 Avenida España, Puerto Madero

Mariela Scafati’s abstract paintings confound traditional expectations of the medium. They are often unframed, jutting out from the wall, or obstructed by hanging objects, such as clothing, furniture, or rope. Originally trained as a graphic designer, she is immersed in

color theory and the history of Modernism, and constantly pushes the boundaries of these disciplines through her installations, which propose that a painting is not an image but a visual punctuation in space. For her site-specific installation in the Museo de la Cárcova, Scafati has created a suite of paintings and arranged them into 11 groupings that resemble human figures. The transformation of two-dimensional paintings into a three-dimensional and interactive experience is fitting for La Cárcova, given its long history of educating artists through replica sculptures spanning art history. Scafati herself studied here in 1997, when she moved from Bahía Blanca to Buenos Aires to participate in a print workshop taught by Tulio de Sagastizábal and Pablo Suárez. Niebla brings her restless experimentation with color and form back to one of its places of origin.

Short Biography Born 1973 in Olivos, Argentina Lives and works in Buenos Aires, Argentina

Mariela Scafati is a contemporary Argentine artist who experiments with geometric abstraction, modern design, performance, and alternative media. She is active with the movements Serigrafistas Queer and Cromoactivismo. She completed her studies in graphic design at the Escuela Superior des Artes Visuales in Bahía Blanca. In 1997 she took part in the painting workshops led by Tulio de Sagastizabal and Pablo Suarez at La Cárcova, and from 1997 to 2001 she participated in Guillermo Kuitca’s program for young artists. She has been a fellow at the Centro de Investigaciones Artísticas in Buenos Aires since 2010. Recent solo exhibitions include ‘¡Teléfono! En diálogo con Lidy Prati’ at the Centro Cultural Borges, Buenos Aires (2009); ‘Windows’ at Abate Galería, Buenos Aires (2011); ‘Pinturas donde estoy 1998-2013’ at the Centro Cultural Recoleta, Buenos Aires (2014); ‘Las cosas amantes; at Galería Isla Flotante, Buenos Aires (2015); and ‘Handcuff Secrets’ presented by Isla Flotante in Positions at Art Basel Miami (2017).

Vivian Suter, Untitled, 2018 Acrylic paint and pigments on canvas, Dimensions variable Location: Ex Cervecería Munich, Avenida de los Italianos 851, Costanera Sur

Opening Hours Thursday, September 6 – Wednesday, September 12, 2018 Weekdays, 11am to 6pm Saturday and Sunday, 10am to 8pm

The Argentine-Swiss artist Vivian Suter provides an environmental perspective on painting, mounting her large, unstretched canvases outdoors to be marked and stained by falling leaves, rain, and mud. For her first-ever exhibit in her native Argentina, Suter has created a suite of new paintings that hang unframed from the open-air porch of the former Cervecería Munich. They were made in Guatemala, where the artist works in the scenic lakeside village of Panajachel. Suter actively invites the elements into her practice, working amid the wilderness that surrounds her home and studio and letting her paintings absorb traces from fallen fruit, passing animals, and weather conditions. When finished, she prefers to install the works by suspending them in space, moving between painting and sculpture. Hung from the roof of the old beer hall’s terrace, Suter’s streaked canvases form a permeable membrane between nature and civilization.

Short Biography Born 1949 in Buenos Aires, Argentina Lives and works in Panajachel, Guatemala

Argentine-Swiss artist Vivian Suter is a contemporary painter best known for allowing natural elements to overtake and shape the artwork. She has been featured in solo exhibitions around the world, including ‘Intrépida, Featuring Elisabeth Wild Fantasías’, Kunsthalle Basel, Basel (2014); ‘Panajachel’, The Mistake Room, Los Angeles (2015); ‘Lejos’, House of Gaga, Mexico City (2015); and Karma International, Zurich (2015) and Los Angeles (2017). She was included in the following recent group exhibitions: ‘Olinka, or Where Movement is Created’, at the Museo Rufino Tamayo, Mexico City (2013); the Bienal de São Paulo (2014); Documenta 14, Kassel and Athens (2017); and ‘Using Floors, Walls, and Ceilings’, at the Jewish Museum, New York (2017). Upcoming exhibitions include ‘El Basque Interior’ at the Art Institute of Chicago, High Line Art in New York, and at the Power Plant in Toronto.

Stan VanDerBeek, Cine Dreams: Future Cinema of the Mind, 1972 Eight-hour, overnight multimedia installation Location: Planetario Galileo Galilei, Avenida Sarmiento and Belisario Roldan, Palermo

Screenings Thursday, September 6, 7pm to 3am Friday, September 7, 7pm to 3am Saturday, September 8, 9pm to 5am Seats 252, first-come, first-serve.

Artist Talk on Stan VanDerBeek Thursday, September 6, 2018, 6.30pm to 7pm Sara VanDerBeek, Chelsea Spengemann (The Estate of Stan VanDerBeek) Venue: Planetario Galileo Galilei, Avenida Sarmiento Avenida Sarmiento and Belisario Roldan, Palermo

Stan VanDerBeek’s Cine Dreams is an overnight event originally performed for three nights in 1972 in Rochester, New York, with assistance from the Visual Studies Workshop. Cine Dreams is meant to be experienced collectively during various sleep cycles as an experiment in altering our subconscious through image immersion. The present iteration includes 25 simultaneous projections comprising 47 films transferred to video and 5 digital slideshows. Computer animations, newsreels, live-action dance, found imagery, and collage films blend and contrast to create a vivid impression of 20th-century America as processed by one of the era's most forward-thinking minds. Closed-circuit imagery of audience members and images of the night sky are also woven into the continuously evolving overhead collage of image and sound. Pillows and blankets are permitted for the audience’s comfort, and details of dreams that occurred during the screening will be collected following the event.

What is the effect of images superimposed on the edge of sleep? Is your dream state pre-coded and isolated? What is the possibility of new social rituals using multimedia to unite group consciousness? Is it possible to find a mythic common image, a non-verbal reference point that a group can identify and relate to? Is this the future cinema, a new ‘dream factory?’ Stan VanDerBeek, 1972

Short Biography Born 1927 in New York, USA Died 1984 in Baltimore, USA

Stan VanDerBeek was a prolific multimedia artist known for his pioneering work in experimental film and art and technology. He studied at The Cooper Union for the

Advancement of Science and Art, New York (1948-1952), and at Black Mountain College, Asheville, North Carolina (1949-1950). Recent exhibitions that have featured VanDerBeek's work include ‘Stan VanDerBeek: The Culture Intercom’ at the MIT List Visual Arts Center, Cambridge, Massachusetts, and at Contemporary Arts Museum Houston (2011); the 55th Venice Biennale (2013); ‘Leap Before You Look: Black Mountain College, 1933-1957’ at the Institute of Contemporary Art, Boston (2015); ‘Dreamlands: Immersive Cinema and Art, 1905-2016’ at the Whitney Museum of American Art, New York (2016); ‘Merce Cunningham: Common Time’ at the Walker Art Center, Minneapolis (2017); and ‘Delirious: Art at the Limits of Reason, 1950-1980’ at the Met Breuer, New York (2017). Upcoming exhibitions include ‘Judson Dance Theater: The Work is Never Done’ at the Museum of Modern Art, New York (2018).

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