Curated by Viviane Stappmanns, Nina Steinmüller, and Susanne Graner, the exhibition avoids falling into a strict chronology or closed categories. Instead, it unfolds a fluid narrative, traversed by the crossover between industrial, graphic, textile, and experimental design. From the pioneering pieces of the Bauhaus, where figures such as Marianne Brandt challenged the margins of what was permitted, to the audacious contemporaneity of Latin American designers, the tour becomes a constellation of gestures, materials, struggles, and forms.

What is remarkable is that many of these works do not need to speak explicitly of gender to be political: the mere fact of occupying a historically masculinized space is already a statement. And yet, many do so with humor, anger, or subtlety through objects, textiles, furniture, or graphics that reformulate the link between body, domesticity, public space, and production. Criticism of traditional roles is not a subtext but a constitutive part of many of the proposals.
One of the curatorial successes is the diversity of visual and cultural languages represented. The show is not limited to established European or North American figures; it includes voices from the global south, designers who operate from adverse or peripheral contexts, whose works dialogue with local, ecological, or community issues. In that sense, "¡Aquí estamos!" is a historical vindication and an intervention in the present: it makes visible what the canon still refuses to include.

The montage is accompanied by sobriety, letting the pieces breathe without imposing themselves. The visit provokes, excites, and makes us uncomfortable at times. It forces us to rethink design not as a “neutral” discipline but as a field crossed by social, economic, and symbolic tensions.

In short, "¡Aquí estamos!" is an exhibition that is discomforted with elegance, celebrates without solemnity, and reconstructs with precision a hitherto ignored genealogy. And above all, it is a call: it is not enough to look, we must rewrite the history of design, this time with all the names.

One of the most interesting aspects of Goldschwartz's work is the way she reinterprets female bodies, which seem at once deities and earthly beings, deeply connected to the ground, as if suggesting that the true paradise, the true promise of life, is in the earth itself and not in an unattainable ideal. These bodies, far from standardized canons of beauty, are scarred, incomplete, and often distorted, revealing an incisive critique of contemporary pressures on corporeality.

In short, Venus is the Promised Land not only invites reflection on the body and nature from a female perspective but also questions how these themes relate to myth and the promise of the unattainable. Goldschwartz offers a raw and poetic vision that reminds us that paradise may be closer than we think.

Artist:

Based in Paris for 30 years, Martín Reyna began his artistic career in the 80s under the current of abstract expressionism. That is why when we see his works we can recognize the influence of artists such as Jackson Pollock or Lee Krasner. However, Reyna's paintings are composed of more subtle and harmonious strokes, inspired by the landscapes of nature. But these are not works of a documentary nature; rather, the artist intends to capture the sensations and emotions that those landscapes provoke in him.

Reyna's art is characterized by his spirit of experimentation. Currently, his works are composed of minimal elements that flow looking for autonomous paths in their journey across the surface. In fact, the artist almost does not intervene in his works; he lets the fluidity of water act on light, space, and color. There is a factor of freedom that can be transmitted to his viewers. That lack of control over nature makes a strong statement. At a time when humans strive to control their environment despite the damage they generate, to visit this exhibition is to be carried away by the forces of nature even while inside a building in the middle of the city of Buenos Aires.