Myths of the Near Future
Myths of the Near Future brings together artists who actively and poetically revisit militant films from the late 60s, old Korean protest songs, degraded craft techniques, forgotten archives and shamanic rituals; they collaborate with others, human and non-human witnesses of tragedy and violence.
From Fairies to Monsters: Ad Minoliti’s Furry Tales
Cuentos teddy bears, Ad Minoliti’s exhibition at La Casa Encendida, revisits different classic versions of Little Red Riding Hood to transform the traditional story into a new narrative horizon that imagines other possible worlds.
Third Section
In Carla Barbero’s Third Section, soft, dreamed, imagined and copied architectures coexist, emerging from different moments of the day and night, from emotions, thoughts and more or less temporary desires. As rustic as the views of the mountains, but illuminated by small golden lagoons.
After Nature
From the porous limit between dichotomies such as nature versus humanx, humanx versus machine and the empirical world versus the supernatural or extraterrestrial, After Nature proposes to experience the “ecological” not as a pedagogical category but as a way of re-imagining our ties with the material world.
Un lugar a donde ir
Guided by her intuitions about space and architecture, Mariela Vita wonders what the Nakagin Tower, an improvised gym on a beach in Rio de Janeiro, the training area of a naval military school in Ensenada, a playground designed by Noguchi have in common?
Oceanica
By overflowing the borders between fiction and reality, between human and non-human, between science and spirituality, Oceanica links universes of cyborg love and post-apocalyptic dystopia, and deploys a stage for the dispute of the territories of contemporaries language, relationships and affection.
Caudal
In Joaquín’s paintings, everything gets intertwined, and in that intertwining the outlines, once rigid and finished, get soft and porous; in the overlap of small gestures, shapes and colors which become dirty with one another and almost unrecognizable, the references to the world around us and its principle of difference fade.
Catalogue: Temporada fulgor. Foto Estudio Luisita Buenos Aires
This—the heart of the Foto Estudio Luisita archive—offers us an opportunity to blur the boundaries of the photography canon with its rigid limits between the commercial and the artistic, between institutions and the vast world that lives at their margins, an opportunity to delve into the images of the body with no intellectual qualms or squeamishness.
Museums as Carrier Bags. A Short Story Around Collecting
I want to propose a story about museums and collections that can bring us closer to Le Guin’s theory of the handbag approach. One that takes us through the small and less visited alleys of museum history, where the Heroes never even arrived.
Temporada Fulgor. Foto Estudio Luisita
Temporada Fulgor presents a selection from the largest body of work that the sisters decided to preserve: the revue theater photos taken between 1964 and 1980. This set of images offers a canon of beauty of a time when hegemonic and patriarchal corporality and eroticism were centerstage, a canon assembled for the mass consumption that dominated popular culture and that, under so many retouched phantasmagoric layers, begins to crack.