03.09.2015 Buenos Aires, August 2015
ML: Well, as I was saying, I was looking forward to interviewing you, particularly as the gallery is conducive to talk…
MP: What do you want to talk about? Barro?
ML: I wanted to ask you a few things, seeing as you had two exhibitions on at the same time.
MP: Fine. Fire away!
ML: I don’t know whether you heard comments from artists about the exhibition that ended a few days ago at the Colección Fortabat. Many saw it as a change of paradigm. It was an important moment for all of us who visited to be able to see your retrospective. So above all else I wanted to know how you feel seeing your work in perspective.
MP: Fine. I think that exhibition changed my life in the sense that people in the art world were able to see the work I’ve done over thirty years, and the feedback I’ve received is very gratifying. And the work with Inés Katzenstein was a stroke of luck, not only for everything she brought to it but also because I accepted each and every one of her decisions. It wasn’t in my plans to do a retrospective exhibition almost as the same time as an exhibition of my recent works in a gallery. They overlapped completely by chance. In the Colección Fortabat I’m free to choose the curator and propose Inés if she wants. And as I said, I totally abide by her wishes and preferences.
ML: That’s clear.
MP: And it’s what I suffered most early on… because in the mid-90s I was doing many pieces of work with a unique character, not series. Series weren’t of any interest to me. I preferred experimenting with techniques, modest experiments, little formats, pictures that were sellable, but I was always seeking to experiment. I wanted them to be unique. And during the 90s people didn’t think much of that. Galleries or institutions wanted series, the exploration of things that were similar to each other, and I was doing things that were really exceptional in comparison with each other. I experienced it as someone who wanted to entertain, as if they were magic tricks by a bad magician. So a retrospective like this one was a chance for me to show all my tricks and games… Download full dialogue
30.05.2026 The exhibition Segundas vidas, curated by SONIA BECCE, unfolds in two parts. The first room, featuring recent work by Analía Saban, marks the artist’s first solo exhibition in Buenos Aires in more than ten years. The second room features a new series of ARC (Animal Rug Company) works, a project that Agustina Woodgate began in 2010.
09.05.2026 Matías Duville presents Monitor Yin Yang, curated by Josefina Barcia, a site-specific installation that transforms the space into a traversable territory constructed with salt and charcoal. The project expands drawing into a spatial, sonic, and performative experience. Biennale di Venezia, Argentine Pavillion, until November 22, 2026.
05.05.2026 Nicanor Aráoz participates in the group exhibition Oscuridad visible: La larga sombra de la dictadura, organized by Museo Moderno of Buenos Aires to commemorate the 50th anniversary of the last military coup. Aráoz presents Glótica 3 (Argentina Brava Mix). At Spazio Punch, Venice, Italy.
01.04.2026 Gabriel Chaile presents his new solo exhibition, Archaeology of Memory, where he scavenges a variety of decorative and functional objects from the local area surrounding the Whitechapel Gallery, to be displayed alongside guardian adobe sculptures. Until September 6, 2026.
06.03.2026 La Chola Poblete: pop andino, is La Chola's first exhibition in Brazil. Curated by Adriano Pedrosa and Leandro Muniz, the exhibition brings together 31 works, including 14 watercolors from the iconic series Vírgenes cholas, exhibited at the Venice Biennale in 2024. At the São Paulo Museum of Art (MASP) until August 8, 2026.
04.03.2026 Madrid, Spain. Solo Show by Agustina Woodgate in the section “Profiles. Latin American Art” curated by José Esparza Chong Cuy.
03.02.2026 Woodgate is participating in the third edition of the Diriyah Contemporary Art Biennale, In Interludes and Transitions. Curated by Nora Razian and Sabih Ahmed. She is the only participant from Argentina and presents a new instance of The Source, a series of artworks taking the shape of site-specific water infrastructures. In Diriyah, UAE.
01.02.2026 A work by Gabriel Chaile will be exhibited for the first time at the Guggenheim Bilbao. The group show Artes de la tierra, curated by Manuel Ciruaqui, addresses the current state of the environment with a collection of works that refer to the soil as a substrate. Until May 3rd, 2026. Bilbao, Spain.
30.01.2026 Works by Martín Legón, Nicanor Aráoz and Marcelo Pombo are part of El orden imposible del mundo, at Fundacion Proa. Curated by Francisco Lemus, the group show brings together artworks that marked bold acquisitions by Argentine collectors.
27.01.2026 We are thrilled to announce the selection of Matías Duville to represent Argentina at the 61st International Art Exhibition of the Venice Biennial. The project chosen for the Argentine Pavilion is “Monitor Yin Yang”, curated by Josefina Barcia. From May 9 to November 22, 2026, Venice, Italy.
BARRO ARTE CONTEMPORANEO
BUENOS AIRES, ARG +54 11 4978 3759
NEW YORK, USA +1 212 652 4410