Location: National Museum of Fine Arts,  Av. del Libertador 1473, CABA, Buenos Aires (Argentina)

Opening Date: 7th May 2025

End Date: 8th June 2025

Working hours: Tuesday-Friday: 11am to 8pm/ Sunday-Saturday: 10am to 8pm

Official website: 

Location: Museum of Modern Art of Buenos Aires, Argentina,  Av. San Juan 350, C1147 AAO, Buenos Aires (Argentina)

Opening Date: April 2024

End Date:January 2026

Working hours: Monday: 11am to 7pm

                          Wednesday-Friday: 11am to 7pm

                          Saturday-Sunday: 11am to 8pm

Official website:

Participating Artists:

Susi Aczel, Roberto Aizenberg, Julián Althabe, Nicanor Aráoz, Carmelo Arden Quin, Pompeyo Audivert, Sergio Avello, Mercedes Azpilicueta, Elba Bairon, Ernesto Ballesteros, Daniel Basso, Carlota Beltrame, Antonio Berni, Martín Blaszko, Inés Blumencweig, Sofía Böhtlingk, Ricardo Carpani, Juan Cavallero, Luis Centurión, Laura Códega, Eugenia Crenovich (Yente), Washington Cucurto, Flavia Da Rin, Jorge de la Vega, Sergio De Loof, Ernesto Deira, Juan Del Prete, Hugo Demarco, Germaine Derbecq, Mirtha Dermisache, Noemí Di Benedetto, Juan Carlos Distéfano, Matías Duville, Ana Eckell, Marcelo Epstein, Noemí Escandell, León Ferrari, Arnoldo Gaite, Ana Gallardo, Ricardo Garabito, Santiago García Sáenz, Nicolás García Uriburu, Noemí Gerstein, Edgardo Giménez, Alberto Goldenstein, Guillermo González Ruiz, Alberto Greco, Graciela Hasper, Alberto Heredia, Alfredo Hlito, Enio Iommi, Kenneth Kemble, Guillermo Kuitca, David Lamelas, Julio Le Parc, Martín Legón, Reinaldo Leiro, Catalina León, Valentina Liernur, Lucrecia Lionti, Alfredo Londaibere, Raúl Lozza, Eduardo Mac Entyre, Rómulo Macció, Víctor Magariños, Jorge Gumier Maier, Tomás Maldonado, Liliana Maresca, María Martorell, Juan Melé, Gian Paolo Minelli, Marta Minujín, Jorge Miño, Oski, Eduardo Painceira, César Paternosto, Luis Pazos, Máximo Pedraza, Martha Peluffo, La Chola Poblete, Rogelio Polesello, Alfredo Prior, Emilio Renart, Juan Pablo Renzi, Juan Carlos Romero, Rubén Santantonín, Eduardo Serón, Aldo Sessa, Carlos Silva, Pablo Siquier, Oscar Smoje, Juan Stoppani, Pablo Suárez, Luis Terán, Luis Tomasello, Silvia Torras, Gabriel Valansi, Georges Vantongerloo, Gregorio Vardánega, Miguel Ángel Vidal, Edgardo Antonio Vigo, Sesostris Vitullo, Luis Alberto Wells, Horacio Zabala, Pablo Ziccarello and Rosario Zorraquín. 

Gruppalli, who has previously worked with other media such as performance and sculpture, proposes a kind of novelty as he reveals to a wide public his recent facet as a painter. The artist brings together portraits and still lifes with (not so) veiled references to the world of art and counterculture in a room with a café concert atmosphere that includes a stage. The audience of “Private Function” is invited to step onto a stage while the characters created by Gruppalli watch from their respective tables, each one decorated with flowers and objects that evoke the history of art.

Around a series of self-portraits and compositions with seated characters, the artist builds a café concert scene that puts into play the pose and the relationships we build with objects. Bananas, shoes, vases, small busts, and record covers create somewhat encrypted surfaces of pleasure, which indicate a world of references linked to the history of art and counterculture of the twentieth century, where Picasso, Buñuel, Brancusi or Andy Warhol cross with some local icons such as Virus, Los Redondos or Rosario Bléfari. According to the artist, the interesting thing is the dialogue between a countercultural record like “Oktubre” by Patricio Rey y sus Redonditos de Ricota, which is printed on many T-shirts, and the most canonized art.

In “Función Privada”, the painting has not been confined to the wall but is presented as part of the construction of a scene; essential to the meaningful articulation of the space where the bodies of the spectators can relate to the bodies represented in the territories of the night. They are spaces in which the penumbra counts at the time of constructing sensations and senses. Each character enigmatically represented in a corner or seated at a table is waiting for the beginning of the show in front of an empty stage. The atmosphere is very surreal, something that is affirmed by the sum of references that also operate as winks to the spectator. These are key to deciphering quotes from the history of art or popular music.

According to the curators, the Recoleta Cultural Center's 2024 program begins with four artists who explore in depth the representation of the body in contemporary times. The selection was based on a search for empathy with the bodies that have been present at the cultural center in recent times, through urban dance experiences, shared workspaces, and recreational activities. By allocating several rooms for the visual arts, these first exhibitions seek to generate a dialogue and an opening to the imagination between the bodies present and those represented.

Official website: 

Museum of Modern Art

The exhibition proposes a counterpoint between tearing and repairing contained in Lamothe's large installation, called "suburban landscape", which dialogues with works by artists who investigate the possibilities of urban and playful art in a context of social and economic crisis. The exhibition's name comes from one of the songs of the cult album "Excursiones" by Rosario Bléfari, Argentinean singer and poet, with her band Suárez in 1999. The song is articulated between the idea of tearing and repairing, a product of the crisis, and shows a new generation of artists.

As for Lamothe's installation, it is a monumental suburban landscape made with a structure of pipes-like scaffolding that contains and envelops the works of other artists. Lamothe transforms and envelops the space of the room to house a group of artists of his generation who emerged on the contemporary art scene after the 2001 crisis. These works portray the memory of a city on the verge of collapse and transform violence into new ways of inhabiting the environment and giving it meaning.

The selected works range from installations, sculptures, videos, and paintings, either on loan, from the museum's collection or produced especially for the exhibition. Among the participating artists, Mariana exhibits a mural in situ on the only white wall, in contrast with the red of the rest of the hall and the access corridor, Facundo Belén with a video performance, the collective Belleza y Felicidad Fiorito exhibits its cartonero cart, and Diego Bianchi with recent sculptures made of silver exhaust pipes.

Irina Kirchuk participates for the first time at the Moderno with an installation of large reconverted objects, such as a refrigerator, which are associated with building profiles. In contrast, Clorindo Testa exhibits a more brutalist and expressive work from the 60s, which is enveloped by Lamothe's large device, where "the irruption of the degraded, the broken" poses one of the contrasts of the tour.

She was awarded at many art competitions for the best graphics and painting, and holds awards from national biennials and the Academic Mural Painting Award in Bulgaria.

This is what the artist conveys about her artistic approach:

<<I think, without being too literal, that through my work I would like to immerse myself in our time, a time of exponential development of the technical revolution. Interesting processes in artistic practices are also observed. The modern horizons of visual culture are based on dialogue and juxtaposition between divergent, often paradoxical at first glance, ideas, but ultimately united through a metaphorical language. The dynamics of modern times have also set the hectic rhythm of the author's reactions - seething, rift and transformations populate the works. We live in a perpetually changing and inconstant world woven of contradictions and untruths.

The point of view of believing in "absolute truth" (read reality) seems to be inapplicable today. New meanings are generated, based on the negation of reality and the views of the so-called "situational ethics" (A.T. Robinson). Our consciousness is constantly attacked by various sensory provocations, the situation is brought to the point of absurdity. It comes to a union of real antitheses, in the sense of a modern reflection of the world as a set of oxymorons, in the theoretical and practical field of visual arts. They are virtually directly related to modern media, without which our life is already unthinkable.

This initial paradox has provoked me to experiment, both in my ideas and in terms of their realization. I look for my truth, in situational, meaningful connections and juxtapositions, within the limits of a rich toolbox. I express my author's will, both in metaphorical figurative distinctiveness, and in the use of diverse materials such as: canvas, paper, plastic, oil and acrylic paints, pigments, pastels, etc. Here, congruence with reality is subject to my subjective observation and opinion. On the one hand, images from reality, on the other hand others, as if digitally decomposed images, are united in new, paradoxical artistic facts. Often, the figurative concepts used contain what by definition would be called oxymorons – they combine opposite ideas. 

Household objects and human figures intertwine with abstract patterns, united in a single view oxymoron, as my overall creative concept. Semantic unity, is not so directly influenced by the materials themselves, but by the symbolic expression of my ideas. This multi-layered imagery and contrasting expressiveness are my reaction to the paradoxical times in which we live.>>

(Dessislava Denava)

 

Graciela Martinez

Leone Sonino

"Danza Actual" is an unpublished investigation promoted by the Museo Moderno on a series of experimentations that have not been historically recognized. The proposal explores modern dance from a double approach: the expansion of limits through interdisciplinary research and female liberation, by the emancipation of bodies that took place in those years.

During the first half of the twentieth century, modern dance spread and consolidated in different training spaces in Argentina and occupied a scenic place that enabled its aesthetic renewal. In the sixties, dance assumed a more experimental position through its presence at the Di Tella Institute and other stages in the city of Buenos Aires.

With a renewed approach and a focus on the experimentation of Argentine dance, the exhibition unfolds as a "missing chapter in the history of art and the history of dance," according to Lemus on this "story rarely told in museums and art institutions." Modern dance is thus consolidated as a crossroads between the Argentine avant-garde and resistance to conservatism.

The exhibition brings together Argentine artists from different disciplines who have had a relevant participation in modern dance. Among them, photographers specialized in dance such as Alicia Sanguinetti, Eduardo Newark, Leone Sonnino, and Susana Thénon. It also includes videos by Ignacio Masllorens, Julia Parodi, and Silvina Szperling.

In addition, the proposal focuses on fundamental experiences for dance as a practice of rupture and freedom aligned with the construction of a regional seal of its own. Groups, choreographers, and dancers, who marked that modern dance, from the group Danza Actual (1962), the Dance Laboratory of Susana Zimmerman, the Center for Audiovisual Experimentation of the Torcuato Di Tella Institute of Buenos Aires, the Theater of the Alliance Française and the Friends of Dance Association, to end the historical journey with the creation of the Ballet of the San Martín Theater in 1968, a milestone in the institutionality of modern and contemporary dance.

"Danza Actual" is part of the annual program "El arte, ese río interminable" (Art, that endless river) which, together with two other exhibitions, aims to visualize the under identity of the 80s and 90s, key decades for the history of Argentine art.