06.12.2016 The Garden of Early Delights is hailed as one of the most transcendent works in the history of art, and for me –in particular– it has always had a special relevance. Still –and even though I have referenced great classics before–, I never dared do something related to this monumental painting by Hieronymus Bosch. Partly out of the deep respect it inspired in me, partly because I could not find a connection with my work that would lead my way into it. That eagerly awaited connection finally came up when I imagined a group of androgynes with gas mask–like prosthetics based on the Trilogy of Mouths, a work I produced in 1997. In it, and from an opened human mouth out comes one of those pig snouts Hieronymus Bosch himself liked so well. And the snout in turn vomits a chicken’s neck. I felt those androgynes had the density and also the humor his characters had and I invited a group of young artists to embody them and to share the scene with me. There are many other sets of characters. Some are played by me, in ways that so happen to keep my face covered somehow. Others were fabricated with plaster casts, which is almost a trademark of mine. I also introduced many birds and other mounted animals –a reminder of the early stages of my career– because they are dead, and still they try to convey a notion of life by imitating gestures that in the end can’t fool anyone. And I deployed them across an apocalyptic landscape, that of the Ischigualasto Moon Valley, in order to create a gigantic Cyclorama. The first encounter with the exhibition comes from behind a fence of sorts; it is thus, almost an anti–exhibition. This Cyclorama is an enclosure that surrounds my grand operation as an artist which gives meaning to this whole work. That centerpiece consists in bringing to life something Hieronymus Bosch only painted as if it existed: the Fountain of Life, which is the center of my attention at The Garden of Early Delights [...] Nicola Costantino, a conversation with Jorge Villacorta.
31.08.2019 Fantasy, hallucinogenic states, humor and erotism serve to create imaginary worlds inspired by erotic art from the Moche culture of Northwest Peru. Miguel Ángel Ríos goes on a hallucinogenic trip through his own fantasies and with reference to the fragmentation of shapes and the self.
31.08.2019 Artists: Xil Buffone, Cristina Coll, Josefina Labourt, Maruki Nowacki. Editor: Martín Legón. Curators: Guadalupe Creche & Martín Legón
25.08.2019 MATIAS DUVILLE: DESERT MEANS OCEAN. Museum of Latin American Art (MOLAA). August 25— December 1, 2019.
13.06.2019 Basel, Switzerland. Aguas Calientes by Gabriel Chaile. Statements presents exciting new solo projects by emerging artists, who are eligible to receive the prestigious Baloise Art Prize.
01.06.2019 Artist: Lido Iacopetti Editor: Martín Legón. Curators: Ángeles Azcua y Jimena Ferreiro. co-produced with Aldo de Sousa Gallery.
29.05.2019 Nicanor Aráoz in Una historia de la imaginación en la Argentina at the Museum of Modern Art in Buenos Aires. Curator: Javier Villa. Until 27.10
29.05.2019 Gabriel Chaile proposes a “Genealogy of the Shape” as a collective poem that is constantly under construction. An ensemble of sculptures is organized in the exhibiting space as a large organism that breathes through arteries of steel and copper.
28.05.2019 Amalia Ulman’s “Privilege” at 2019 Digital Art Curatorial Exhibition Program - Immortal on screen. Collective show at National Taiwan Museum of Fine Arts. Curator: TSENG Yu-Chuan.
15.05.2019 Agustina Woodgate, with the work “National Times”, selected by the Whitney Biennial being the first Argentinian woman artist to participate in one of the most import Art Biennials. Until Sep 22th
11.05.2019 Poetry, Songs and Performance at Marcelo Pombo's Show