The edge of itself: exercises in theatre and the visual arts

The Edge of Itself: exercises in theatre and the visual arts was an invitation to share in the time, process and construction of different works of art; to imagine things that haven’t yet taken shape. The idea was based around the concept of the rehearsal: a shared territory with invisible boundaries where both disciplines lay bare their processes and also blur the distinction between realism and fiction, presentation and representation, suggesting new strategies for making connections and guiding or distributing the space in relation to the public. The rehearsal is a test, but also way of developing an argument. In this experience, the work is under construction: it is being written and shaped under the gaze of both the artist and the public.

The cycle featured theatrical and dramatic artists from Argentina and overseas and was curated by Javier Villa – senior curator at the Museo de Arte Moderno de Buenos Aires – and Alejandro Tantanian, playwright, director, réggiseur, actor, singer and cultural administrator who formally joined the museum as Curator of Theatre, a brand new role to art museums in Argentina. Tantanian was appointed in order to expand our perspectives of modern and contemporary art and to diversify the disciplines researched by the Curatorial Department at the Museo.

Artworks features in the cycle:
1000 y Compañía, Compañía (1000 and Company) by Jérôme Bel
Intervalos (Intervals) by Rubén Szuchmacher
El tercero en cuestión (The Third in Question) by Bruno Gruppalli & Daniel Joglar
Ensayo de Eros (Essay on Eros) by Silvio Lang
Sin título (Untitled) by Ariel Farace
Una tal Nancy (Someone called Nancy) by Mauro Guzmán & Nancy Rojas
The Evening Part 2 by Richard Maxwell
El orden de las cosas (bocetos) (The Order of Things) by Liliana Porter