Immersed in a personal mythology that fed into both her life and works, Burton used humour and fantasy to seek out the most tenuous, threatening, darkest points of contact between nature and civilization.
Iturralde presents his own particular take on pictorial language and the history of modern painting in small-scale figurative paintings to open up new visual reflections on the acts of painting and looking.
This exhibition celebrating the figure of Sergio De Loof charts this legendary artist’s boundless creativity and his central place in the Porteño underground scene from the 1980s to the early 2000s. De Loof worked at the crossroads of luxury and vulgarity, between the aristocratic palate and popular taste. Environments, installations, costume designs and other ephemeral actions by the artist were specially reconstructed for the show.
The first anthological exhibition of this internationally renowned Argentinian artist, whose work deconstructs the canonical forms of abstract painting, architecture and design through feminisms, queer theory and interspeciesism in her search for alternative futures.
The Museo de Arte Moderno de Buenos Aires presents I am a Saint, the first panoramic exhibition of his work that tells the story of his religious conversion through the images he produced along the way .
Evoking the romantic figure of the artist-inventor, Aizicovich built a series of participatory instruments specifically for this exhibition to try out new ways of resensitising interpersonal communication.
For the re- opening of the Museo Moderno, we invited the artist to make a mural. What does the museum dream when no one’s around? A playful fantasy winds its way around the walls of the café and the bookshop.
Curated by Marcelo E. Pacheco, María Amalia García and Javier Villa
The Moderno’s most far-reaching curatorial research to date sets the stage for the work of this revolutionary Argentinian artist. Greco has come to be seen a key figure in the transition from modern to contemporary art on the international scene.