15.09.2015 Glothic is a graft, a word that is somewhat like the guttural sound of a cry of pleasure stifled by a spurt of blood: a limbo in which the boundary between pain and pleasure is blurred, social taboos fall and a Freudian slip puts victims and victimisers on the same plane. With images of scenes of sadomasochism, to the southern Gothic novel of the 19th century and to the psychedelia of LSD, Nicanor Aráoz is the stage designer for a new genre of terror, transforming the large Barro building into a raucous party that threatens to descend into the horror of a bad LSD trip. Among the neons and fluorescent colours of drag aesthetics and house music, Aráoz creates scenes with zombie-like sculptures and gory tortures, in which black humour would seem to be the only possible form of atonement. The exhibition explores the idea of the ritual of liberation as a promise of transcendence that conceals on the other side the imminent possibility of slipping into a nightmare.
25.08.2018 ARTISTS: MÓNICA GIRON / NICOLÁS GULLOTTA / IRENE KOPELMAN / ALFREDO LONDAIBERE / MARCELO POMBO / ALEJANDRA SEEBER / AMALIA ULMAN / AGUSTINA WOODGATE. CURATOR: SONIA BECCE. Until October 6th
14.07.2018 Gabriel Chaile, 70 veces 7, 2018. Instalation Site Specific. Irons and bricks, 300 x 330 x 300 cm. Colección Fundación Tres Pinos. MARCO–Museo de Arte Contemporáneo de La Boca
12.06.2018 [...] There is a phenomenon that science still has not been able to explain called crown shyness. Certain species of trees’ branches grow close but never graze each other. As if they could communicate, each tree establishes the margins of its own space, its own territory. Verónica Flom for Los días.
25.05.2018 Buenos Aires, Argentina. The gallery includes works by Nicanor Aráoz, Joaquín Boz, Nicola Costantino, Matías Duville, Mondongo, Alejandra Seeber, Amalia Ulman and Agustina Woodgate in the main section of the fair. And is involved with CABINET by Marcelo Pombo.
24.05.2018 Red Sunset, 2018. Sanguine on paper, 100 x 70 cm. Matias Duville is part of the collection of the Museum of Latin American Art (MOLAA), Long Beach, USA.
13.05.2018 As a closing exhibition of his BAR project residency. The seduction of the innocents displays a new essay of Martin Legón. This work, mix between anthropology, poetry, and sociology of the media, breaks down the paradoxical place occupied by the artistic object today.
11.05.2018 Nicanor Araoz. Sin título, 2008. Wood, wooden shelves, wall paper, jar and chocolate Nesquik, decorated plate and light socket. 200 x 140 x 21 cm. Colection Museo Castagnino+macro, Rosario.
11.05.2018 Nicola Costantino. Animal Motion Planet, máquina para caballo nonato, 2003. Drawing, chrome iron and motor. 170 x 60 x 105 cm (machine) / 55,8 x 80 cm (Drawing). Collection Museo Castagnino+macro, Rosario
11.05.2018 Martín Legón. Reinserciones en los sistemas de consumo (Las razones por las que escribimos son más importantes que lo escrito en sí) De la serie El triunfo de la muerte, 2012. Original photograph by Marcos López (Asado en Mendiolaza, 2001), copy destroyed by the artist to prevent its commercialization. 266 x 98,5 x 7 cm. Collection Museo Castagnino+macro, Rosario
11.05.2018 Joaquín Boz. Sin título, 2012. Oil, turpentine and linseed oil on paper. 200 x 400 cm- 8 paper panels. Collection Museo Castagnino+macro, Rosario