Kilometre 1

Kilometro 1 is the Museo Moderno’s new proposal to connect with the San Telmo neighbourhood. Its objective is to make visible, single out, value and promote the artists and studios, and the creative, social and cultural proposals of the community in our neighbourhood.

The Museum reaches out to our neighbours through a series of actions and it connects – through its educational, artistic and editorial programs – with San Telmo’s institutions, markets, temples, park, square, and with its specific audiences: children, youth, adults, the economically and socially vulnerable, educators and health personnel, and their desires and needs.

KM1 in Plaza Roberto Arlt

Entrance to Plaza Roberto Arlt (Photograph: Guido Limardo)
Elda Cerrato’s work in the Arte de Sistemas II – Arte e ideología catalog, CAyC, 1972
Mariela Scafati and Elda Cerrato at La Ene al Aire Libre, Arte & Ideología [La Ene Outdoors, Art & Ideology], April 2017 (Photograph: Javier González Tuñón)
Cover of the Arte de Sistemas II – Arte e ideología catalog, CAyC, 1972
Invitation card, La Ene al Aire Libre, Arte & Ideología, April 2017.
Plaza Roberto Arlt (Photograph: Guido Limardo)
Plaza Roberto Arlt (Photograph: Guido Limardo)
Elda Cerrato and Luis Pazo at La Ene al Aire Libre, Arte & Ideología, April 2017. (Photograph: Javier González Tuñón)
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In 1972, the Centro de Arte y Comunicación (CAyC) organized the exhibition Arte de Sistemas II – Arte e ideología [Art of Systems II – Art and ideology], held in the emblematic Plaza Roberto Arlt, located at the corner of Esmeralda and Avenida Rivadavia. In fact, the event took place in three different locations simultaneously: Plaza Roberto Arlt, the CAyC headquarters, and at the Museo de Arte Moderno de Buenos Aires. It featured the participation of more than seventy artists who asserted the critical and poetic links between art and society through the use of the public space.

Elda Cerrato presented a work of art that consisted of two-metre-high metal cylinders on which she reproduced phrases from Roberto Arlt’s censored collection of essays, “Aguafuertes porteñas” (“Buenos Aires Etchings”). In 2017, La Ene (Nuevo Museo Energía de Arte Contemporáneo) invited a large number of contemporary artists to recreate the 1972 artworks and thus create an updated version of that same experience. Marial Scafati took Cerrato’s piece and reprinted a selection of texts by Roberto Arlt and handed them out to visitors, with the intention of putting those same words that fifty years ago were so highly subversive into circulation among the public. Cerrato herself recently recreated a series of posters that were part of that experience and that can currently be seen in our exhibition Elda Cerrato: El día maravilloso de los pueblos [Elda Cerrato: Wonderful Peoples Day] at the Museo Moderno. 

KM1 en Palacio México

Taller Pólvora
Taller Pólvora
Taller Pólvora
Taller Pólvora
vista de la exposición Artillería, 2021
Vista de la exposición Equinoccio, 2020
Vista de la exposición Equinoccio, 2020
Taller de Josefina Labourt
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Fotografía: Agustina Puricelli

KM1 presenta Palacio México, un espacio para talleres de artistas que funciona en México 1308, una gran casa del siglo XIX en la que residió el embajador de Brasil hasta 1917.

Desde hace veinte años, Palacio México es utilizado como espacio de talleres. En las habitaciones ornamentadas con vitrales azules y rojos traídos de Inglaterra, techos altos y molduras de madera, se ubican los espacios en los que trabajan ceramistas, restauradores y artistas.

En todos estos años han trabajado muchos artistas, entre ellos Pablo Siquier y Jorge Macchi. Actualmente, los talleres son autogestionados por artistas de diferentes generaciones y oficios, como Hernán Rojo, Amparo Viau, Fernando Lancelloti, Daniela Raggio, Calipso Cerámicas y Tomás Vidal, junto con Julia Padilla, Antonella Agesta y Aurora Castillo, quienes participaron recientemente del programa KM1.

KM1 at Pólvora

Views of the studio spaces
Views of the studio spaces
Views of the studio spaces
Views of the studio spaces
The Artillería exhibition, 2021
Views of the Equinoccio exhibition, 2020
Views of the Equinoccio exhibition, 2020
Workshop of Josefina Labourt
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Photography: Agustina Puricelli

KM1 presents Pólvora, a space for artists’ studios located at Avenida Venezuela 720, in a building once used as a dance floor for milongas and as a bathtub factory. 

Pólvora is one of the spaces that was founded against the backdrop of the pandemic as a means of satisfying the need to create meeting places and spaces for dialogue between artists This large hall with its factory-style architecture is home to the studio spaces of the sixteen different artists currently working here. Artists Nadia Martynovich, Ivan Enkin and Alfio Demestre were the driving force behind the project, who, in 2020 sought to transform the rooms of the building into spaces for production, exhibitions, open studios, book presentations, film cycles and talks. Since its opening, three group shows have been held: Equinoccio [Equinox] and Solsticio [Solstice], in 2020, and Artillería [Artillery], in 2021.

The following artists work at Pólvora:
Gaspar Acebo, Eugenia Hernández, Julián Matta, Ailen Ibarra, Hernán Kacew, Lukas Rimsky, Johanna Borchardt, Amelia Barros, Mariana Bersten, Agustina Puricelli, Micaela Iribarren, Lucas Barrer and Ernesto Alli, who is a recent participant in the KM1 programme.

KM1 at La Verdi

Magdalena Petroni’s studio
Common area
Alfredo Dufour’s studio
Carlos Cima’s studio
Meeting between artists and Monica Mayer (artist-in-residence from Mexico), 2018
Agustina Leal’s studio
Rocío Englender’s studio
Josefina Labourt’s studio
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All images are from the La Verdi archive.

KM1 looks to introduce the work of artists from the city at locations that make up the artistic and cultural map of San Telmo.

Today we introduce La Verdi, a cultural events and studio space that, since 2014, has been operating from its first-floor location at the century-old Teatro Verdi on Avenida Almirante Brown 726, in the heart of La Boca.

La Verdi is a collective project, a space for artists’ residencies and studios, coordinated by Ana Gallardo and Magdalena Petroni. It is also a space for public activities such as shows, lectures, music and cinema festivals, talks and exchanges, debates and community-building events.

In 2017, La Verdi launched an international artist-in-residence programme that led to the opening of a Mexico City branch that also hosts cultural activities and residencies, thus allowing for exchanges between Argentine and Mexican artists.

There are currently 11 artists that use La Verdi as their work space, including Alfredo Dufour, a recent participant of the Museo Moderno’s KM1 programme, as well as Carlos Cima, Martín Farnholc Halley, Antonio Villa, Martín Fernández, Constanza Giuliani, Josefina Labourt, Manuela Aramburu, Agustina Leal, Magdalena Petroni and Rocío Englender.

KM1 at Brasil 675

Lucila Gradin’s studio
View from the entrance hall
Emilia de las Carreras’ studio
Maniobras focales [Focused manoeuvres], an exhibition by Francisco Montes
María Carballo’s studio
Sofía Gallo’s studio
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Photos by Julián Terán and Francisco Montes, courtesy of Brasil 675, 2021

KM1 looks to introduce the work of artists from the city at locations that make up the artistic and cultural map of San Telmo.

Today, we present Brasil 675, an artists’ studio space located in an old manor house on Avenida Brasil, very close to Parque Lezama. 

This incredible heritage building houses a dozen rooms over its three stories. Originally constructed as a single-family home by the architects Lanús and Hary, over the years it served several purposes, functioning as a guest house and residence for the elderly. In 2015, in began to operate as Casa Zur, hosting one-off cultural events, art and music exhibitions. That same year, it began to host the URRA artist-in-residence workshops, receiving artists from around the world. Between 2016 and 2019, having restored several of the spaces in the house, Casa Zur was able to establish permanent studios for Argentina artists.

Since 2020, in the midst of the pandemic, the space underwent another change and its members founded the Brasil 675 group, with the intention of installing new studio spaces. The current project has taken over the entire building and is home to the studios of Emilia de las Carreras and Francisco Montes – both of whom recently participated in KM1 – as well as María Carballo, Cervio Martini, Julián Terán, Sofía Gallo and Lucila Gradin. There are also temporary exhibitions, open studios and installations in specific areas of the house that have been created by artists on invitation.

KM1 at Boca de fuego

Façade Munar Arte
Boca de fuego studio spaces
Aurora Castillo’s studio space at Boca de fuego
Ulises Mazzucca’s studio space at Boca de fuego, 2020
Ulises Mazzucca, Magia en mi cuarto [Magic in my room], 2021, pastel on paper, 100 x 100 cm
Ulises Mazzucca’s studio space at Boca de fuego, 2019
Laura Códega’s studio space at Boca de fuego, 2019
Cartón Pintado’s studio space at Boca de fuego, 2021
Details of works by Cartón Pintado, at Boca de fuego, 2021
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(Photos: 1 – 4 and 6 – 9, by Joaquín Wall; 5, de Sol Navedo. Courtesy of Munar)

 

KM1 looks to introduce the work of artists from the city at locations that make up the artistic and cultural map of San Telmo.

Today, we present Boca de fuego, which opened in 2018 as part of the Munar Arte project, and which provides space for artists’ studios. It is located close to our neighbourhood, at Avenida Pedro de Mendoza 1555, across from the iconic La Boca transporter bridge.

For the past two years, nine artists have been working and developing their projects on the first floor of the building. Artist Carlos Herrera is the artistic director of Munar and also coordinates the activities. The aim is to accompany young artists whose works have a strong connection to materials, techniques and crafts. 

As an open plan space that is free of dividing walls, Boca de fuego looks to stimulate encounters and group projects among artists. All of the works in the exhibition Ulises Mazzucca: Spritual Gymnastics, on display at the Museo Moderno, were produced at Boca de fuego. Mazzucca has shared the studio space with many other artists, such as Cartón Pintado and Aurora Castillo, both of whom also recently participated in KM1, mounting their works in different locations of the San Telmo neighbourhood.

Artists-in-residence 2020-2021: Cartón Pintado, Inés Beninca, Jazmín Kullock, Matisto, Nazareno Pereyra and Stella Ticera.

KM1 en la Basílica San Francisco

Horacio Butler, La glorificación de San Francisco (detalle), 1972, tapiz, 1200 x 800 cm
Horacio Butler, La glorificación de San Francisco, 1972, tapiz, 1200 x 800 cm
Grabado alegórico sobre la Orden Franciscana
Operarios confeccionando el tapiz: Leonardo Riveros, Antonio Falcón, Isaías Cativa y Rafael Alcar
Horacio Butler, La casa violeta, s/f, bordado sobre tela, 113,5 x 136 cm. Colección Museo de Arte Moderno de Buenos Aires
Fachada Basílica San Francisco
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(Fotografías: 1 y 6, Guido Limardo; 2, 3 y 4, Archivo Basílica San Francisco)

KM1 te acerca a la obra de artistas de la ciudad a través de sitios que forman parte del mapa artístico y cultural de San Telmo.

Presentamos a Horacio Butler, autor del tapiz que corona el altar de la Basílica San Francisco, ubicada en Adolfo Alsina 380. El tapiz de grandes dimensiones fue encargado para ocupar el altar central, que había sido destruido diez años antes, en los incendios de 1955. La glorificación de San Francisco sorprende por sus 12 x 8 metros. Su realización, a cargo de un conjunto de operarios bajo la supervisión de Butler y la dirección de Santiago Larochette, llevó varios años. El tapiz fue emplazado el 4 de octubre de 1972.

La composición se basa en un grabado alegórico sobre la Orden Franciscana. En la parte superior, la Virgen se apoya sobre un árbol florecido y espinoso que envuelve, más abajo, la imagen de San Francisco junto a flores y pájaros.

Butler había comenzado a trabajar en el desarrollo de las artes aplicadas como forma de dar continuidad a las actividades manuales en una era de avance de la producción industrial de objetos culturales. Realizó muchos otros tapices con imágenes de gran síntesis formal y exquisitas composiciones cromáticas, para los que tomó motivos de su entorno en la zona de Tigre, donde se había instalado. Un ejemplo es La casa violeta, que forma parte de la colección del Museo Moderno desde 1968.

KM1 at the Forner-Bigatti Foundation

Raquel Forner in her workshop, photograph: Leonor Marsicano, 1976, Forner-Bigatti Foundation Archive.
Raquel Forner, Astromutación [Astromutation], 1969, oil on canvas, Museo de Arte Moderno de Buenos Aires Collection.
Raquel Forner, La torre [The Tower], 1959, oil on canvas, Collection of the Museo de Arte Moderno de Buenos Aires.
Raquel Forner Workshop, photograph: Gustavo Sosa Pinill, Forner-Bigatti Foundation Archive.
Façade of the Forner-Bigatti Foundation, Bethlem 443, Forner-Bigatti Foundation Archive.
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KM1 aims to introduce the work of artists from the city in locations that are part of the artistic and cultural map of San Telmo.

Today we feature Raquel Forner, who produced much of her work in the neighbourhood of San Telmo. The house and workshop she shared with her husband, sculptor Alfredo Bigatti, is now a cultural space dedicated to disseminating and conserving the legacy of these artists.

Created in 1982, the Forner-Bigatti Foundation is located in front of Plaza Dorrego. Beginning in 1937, the artists worked and lived in the house, which was built by Alejo Martínez and inspired by the ideas of the modernist architect Le Corbusier.

The Museo Moderno collection includes Astromutación [Astromutation], from 1969, and La torre [The Tower], from 1959, two works by Forner that are part of an incredibly imaginative series begun by the artist in the 1950s, when she became interested in space travel and created images of beings that reside on other planets. This series, considered to be absolutely contemporary as well as prophetic, was invigorated by the space race of the 1960s and the 1969 moon landing. Some of the works from the series are preserved at the artist’s studio, along with some of her work materials, as can be seen in the image which shows them as they are today, and in a photograph from 1976.

Gilda callejera - Daiana Rose

Convocada por el Museo Moderno, Daiana Rose presenta Gilda callejera, un show performático perteneciente a la serie “Gilda depre”, en el que la artista canta canciones de este ícono de la cumbia con un arreglo melódico que enfatiza el romanticismo de sus letras.
Daiana Rose (Buenos Aires, 1980) es artista visual egresada de la Escuela Nacional de Bellas Artes Lola Mora. Su trabajo se centra en el dibujo y la performance. Sus obras evocan lo sensible y lo cariñoso a través del trabajo con gestos tanto matéricos como corporales. En los últimos años ha generado una serie de performances musicales en las que reflexiona sobre el amor y lo cursi. Forma parte del colectivo Cromo Activismo. En 2019 lanzó su disco Este peludo sentir, con el sello Otras Formas, producido por Lola Granillo. Su última exposición, Caparazón caparazón, fue realizada en Galería Grasa en 2020, con curaduría de Santiago Villanueva, integrada por una serie de dibujos de tortugas realizados en carbonilla.

Invitada por el Museo Moderno para participar del programa KM1, Daiana Rose presentó su performance Gilda callejera, una acción musical frente al Bar Sur en el barrio de San Telmo. La artista, que se define como fan de Gilda, cantó cinco de sus canciones acompañada por el artista Dani Zelko en el piano. Como una forma de resaltar ese momento íntimo en el que Gilda componía sus canciones, Rose quita todo el ritmo de la cumbia de su versión dejando al descubierto la naturaleza de sus letras, románticas, melancólicas y tristes.
La acción forma parte de una serie que se titula “Gilda depre”, que se inició en 2020, con distintas versiones que dependen del lugar en el que se realice. Con un tono teatral que evoca el género del burlesque, Rose realizó una escenografía móvil con dos percheros metálicos de los que colgó plumeros de colores y una cortina de almohadones de terciopelo con tijeras entrelazadas que simbolizaban los corazones perdidos. La artista interactuó con la escenografía durante el tiempo de la presentación para darle dramatismo a la performance.
Gilda callejera forma parte del programa KM1, una serie de intervenciones artísticas que el Museo Moderno lleva adelante en el barrio de San Telmo.

La silla - Silvina Babich

Silvina Babich (Burzaco, 1969) estudió Bellas Artes en la Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Se ha desarrollado como artista y curadora focalizándose en el vínculo entre naturaleza y cultura en las áreas ribereñas de distintas partes del mundo y, en particular, de la cuenca del Río de la Plata. Alrededor de la figura del río crea programas transdisciplinarios que unen tecnologías artesanales y performáticas. Desde hace varios años se capacita e investiga con artesanos y productores sobre fibras naturales, sus usos y aplicaciones. Es fundadora y regente de Ala Plástica, organización artístico-ambiental que conecta métodos ecológicos, sociales y artísticos, y de Base Riachuelo Programa Estuario, espacio multidisciplinar que explora los cruces entre arte y comunidad. Sus proyectos se han exhibido tanto en la Argentina como en Uruguay, Alemania, Inglaterra, entre otros países. En 1992 inició su proyecto La silla, que continúa hasta la actualidad.

Silvina Babich desarrolla su obra en torno a los cruces entre naturaleza y cultura, centrándose en las áreas ribereñas de distintas partes del mundo y, en particular, de la cuenca del Río de la Plata. En 1992 inició su proyecto La silla, en el que recolecta sillas desechadas, rotas y en desuso y las rehabilita con la técnica tradicional del tejido en junco, una planta larga y fibrosa que es la primera que coloniza las costas de los ríos. En relación con las zonas hídricas, este material ha sido utilizado para la manufactura de cestería desde tiempos ancestrales.

A partir de la revalorización de este oficio, Babich crea acciones en las que enseña la técnica en espacios públicos con la intención de revalorizar lo comunitario y la transmisión oral de saberes y oficios. Con su acción devuelve la utilidad a las sillas descartadas, consideradas como basura, para postular una interrogación sobre la vida útil de los objetos.

Para KM1 la artista ubicó varias de sus sillas tejidas en la vereda de Bolívar y Chile en el barrio de San Telmo, recreando el camino sinuoso del arroyo que solía pasar en tiempos de la colonia por este lugar y que hoy corre bajo tierra. Luego se sentó a tejer generando un momento interactivo en el que los transeúntes podían acercarse, preguntar, conversar y aprender la técnica.

Con su obra, Babich genera un diálogo entre la orilla de la calle y la orilla del río, redimensionando el espacio público e incluyendo las cuencas hidrográficas dentro del imaginario urbano y colectivo. La acción forma parte del programa KM1, una serie de intervenciones artísticas que el Museo Moderno lleva adelante en el barrio de San Telmo.

Usted está aquí [You are here] - Esteban Álvarez

Esteban Álvarez (Buenos Aires, 1966) studied at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón and continued his studies in Italy, Czech Republic and England. His work focuses on graphics and on altering the way in which we use objects – money, the sounds of a cell phone, a street sign – so that they take on new meanings. He has received numerous awards and grants, including from the Fondazione “Il Bisonte – per lo studio dell’arte grafica” (Florence, Italy) and the British Council Scholarship for Postgraduate Studies at Middlesex University (London, 1999-2000). Over the course of his career, he has exhibited at museums and institutions such as the MALBA, Buenos Aires; Museo MacRo Castagnino, Rosario; The Drawing Center, NY; ifa Gallery, Berlin, and many others. He dedicates his time to teaching and developing his art. He lives and works in Buenos Aires. 

Esteban Álvarez engages with the San Telmo neighbourhood through his work, Usted está aquí [You are here], a road sign that stands “soaking” in two glass jars. With its posts stained with dirt, the sign appears to have been pulled up like a plant from the garden and placed in the jars of water to keep it “alive”, in an allegorical sense. 

Made in 1997, the work has been shown at the Galería Álvaro Castagnino and at the exhibition for the Klemm Visual Arts Prize. Now, more than twenty years later, it has come out of the studio and left behind the gallery space to take on a new meaning within a new setting: the street. In the public space, Álvarez’s piece modifies the function of a road sign, taking an item that orders us into action and transforming it into a static statement made in the pure present tense: “You are here”. Written in white letters on a green metallic sign, it identifies not only a space but a precise, exclusive moment of time. Within the context of the pandemic, the piece calls on us to look back over our experiences and points to our new perception of time as has emerged over the last year or so, when the “here” became our only option. 

This installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood. 

Usted está aquí [You are here] Metal signpost, 200 × 220 cm, standing in two water-filled jars, San Telmo, 2021

Registro superficial [Surface register] - Julia Volpato

Julia Volpato (Buenos Aires, 1992) trained as an industrial designer and has attended workshops and clinics with several different artists. In 2017, her work Rodamientos [Ball bearings] won first prize at the 15th Edition of the Proyecto A competition. In 2018, she was awarded a grant for a three-month residency at the Fundação Armando Alvares Penteado (FAAP) in São Paulo. That same year, she participated in Universidad Torcuato Di Tella Artists’ Program and was a fellow at the Centro de Investigaciones Artísticas, Buenos Aires. In 2019, she held xx, her first solo exhibition in Bogotá. She lives and works in Buenos Aires. 

Julia Volpato takes materials and processes associated with industrial design and applies them to art. In recent years, she has produced a series of sculptural tracings of manhole and power line covers. She first selects the covers that capture her interest, perhaps because of the grid pattern or inscriptions they feature, and she then makes a copy of them using the frottage technique, in which she places a paper over the piece she wishes to trace and rubs a piece of chalk on the paper, thus picking up the shape and texture of the cover she has chosen to work with. She then transfers the results onto wooden plates which are fretworked and painted, giving them the look of polished, shined iron.   

For KM1, Volpato decided she would demonstrate her process in public, transforming it into a performance and an intervention in the urban landscape. Using the same technique, the artist registered the details of a series of manhole covers she found in the streets of San Telmo and hung the results in public, displaying them on a billboard in the neighbourhood so that passers-by could look at them and even take them home. At the same time, in recognition of the fact that this area of the city used to be dedicated to industrial production, the artist placed one of her sculptures at the intersection between Avenida Paseo Colón and Avenida Martin García, a location that was previously home to factories. 

The installation is part of the Km1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Julia Volpato Registro superficial [Surface register], 2021 Frottage of manhole covers on paper, mounted on billboards; and a sculptural piece constructed of MDF, located at Avenida Paseo Colón and Avenida Martín García, San Telmo, Buenos Aires.

Confitería - Alfredo Dufour

Alfredo Dufour (San Juan, 1989) es Licenciado en Artes Plásticas, egresado de la UNCuyo, Mendoza. Realizó las residencias MARCO Arte Foco, Fundación Tres Pinos, Bs. As. (2018/19) y Can Serrat, Barcelona (2017). Asistió al Programa de Artistas Universidad Torcuato Di Tella (2016) y Yungas (2013). Fue seleccionado en la Primera Bienal Nacional de Dibujo del Museo de Bellas Artes Franklin Rawson (2019), el Premio Fundación Fortabat (2019), el Premio Braque, (2019) y el Salón Rosa Galisteo (2017). Ganó la Beca de Formación del FNA (2016) y obtuvo la mención especial del jurado en el Salón de Pintura Banco Central (2015). Participó en el Salón Nacional de dibujo (2015) y en el premio Fundación Andreani (2015). Realizó las muestras No me digas entiendo, en MARCO (2019); Germán, Galería Constitución (2018); Las cosas simples, en el Museo Franklin Rawson de San Juan (2018); Dibujos animados, en Imagen Galería (2016), y Diciendo mentiras por David Bowie, en Centro Cultural Julio Le Parc (2013). Vive y trabaja en Buenos Aires. ​

Confitería es el título de la intervención de Alfredo Dufour en el Bar Británico, uno de los cafés notables del barrio de San Telmo. Dufour eligió transformar este espacio con su serie escultórica de medialunas y limones. En estas piezas, los materiales y artículos cercanos al mundo de las manualidades, como pelotas o telgopor, se trasladan al lenguaje de la escultura generando escenas surreales y cambiando el uso habitual de los objetos.

Con su obra, Dufour resaltó la belleza de los alimentos subrayando su lado pintoresco. La entrada del bar fue ornamentada con una gran bandeja negra con destellos blancos, que puede ser vista como una noche estrellada o como una clásica asadera enlozada. En el centro de esa superficie, una medialuna flota solitaria. Esta obra inicia la instalación que se despliega en las mesas, en la barra y las ventanas del bar.
En sus piezas, Dufour congela pequeños instantes cotidianos, como sumergir una medialuna en el café con leche o servir una docena de facturas en un plato, que se convierten en un hecho escultórico. Con su acción, el artista genera un vínculo entre la poética del arte contemporáneo y la de uno de los cafés más tradicionales del barrio.

La acción forma parte del programa KM1, una serie de intervenciones artísticas que el Museo Moderno lleva adelante en el barrio de San Telmo.

Piel rizoma [Rhizome skin] - Julia Padilla

Julia Padilla (Buenos Aires, 1991) attended art clinics with Ernesto Ballesteros and José Luis Landet, as well as training programmes such as Artistas x Artistas (Fundación El Mirador), PAC (Gachi Prieto Galería) and ABC (Pan y arte). She received a grant from the Universidad de Avellaneda to pursue a Master’s Degree in Contemporary Latin American Aesthetics (Centro de Investigaciones Artísticas). She attended Nicanor Aráoz and Flavia Da Rin’s Spooky Vision workshop and has participated in writing workshops held by María Gainza and Silvia Gurfein. Julia has had solo exhibitions at Fundación El Mirador, Naranja verde and the Gachi Prieto Galería and has taken part in group exhibitions at Centro Cultural Recoleta, Munar, Cecilia Caballero, Granate Galería and Panal 361. She has participated in the awards held by UADE, Fundación Andreani, Fundación Williams (textile and sculpture), Ópera Prima at the Casa del Bicentenario, Proyecto A and the Young Art Bienniale.

Julia Padilla carried out an intervention at Parque Lezama with her installation Piel rizoma [Rhizome skin], in which a series of artworks interact with the surrounding green space. The work is characterised by encounters between textures and forms that awaken our sense of touch. It includes sculptures that resemble eggs, insects, fruits, ears and unfamiliar bugs, all of which the artist placed among the trees and roots. The strange, hybrid creatures camouflage themselves within the ecosystem.

Each of Padilla’s objects refers to an elemental morphology shared by animals and plants. The artist’s work fuses organic and artificial materials, creating connections and links between the human and the non-human.

For her installation, Padilla chose to work in two areas of the park that allowed her to point out the strangeness of the trees and the flora and fauna that can be found there. One of these includes a so-called “paper tree”, a variety of the Polylepis tree, in whose branches she placed an object that looks like a strange soft fruit with a dangling tuft of hair. In another green area of the park, she positioned two ear-shaped sculptures that listen attentively to the sounds of the park.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Julia Padilla, Piel rizoma [Rhizome skin], 2021, Sculptural installation in Parque Lezama, San Telmo.

Harapos diabla [Devil’s Rags] - Emilia de las Carreras

Emilia de las Carreras (Buenos Aires, 1989) is a visual artist. She completed art clinics with Fabiana Barreda, Osías Yanov, Luciana Lamothe and Ernesto Ballesteros. Emilia has participated in group exhibitions in spaces such as Centro Munar, Museo de Arte MBA, MAC of Bahía Blanca, La Verdi, the El Mirador gallery, among others. She participated in the 2014 ABC grant and in Proyecto PAC, and in 2018 she was awarded a grant to participate in the Artistas x Artistas training programme, directed by Florencia Rodríguez Giles and Tomás Espina. She attended Nicanor Aráoz and Flavia Da Rin’s Spooky Vision workshop, In 2015, she won the Proyecto A competition, with which she produced Luego [Then], her most recent solo show. In 2019, she was selected for the Young Art Bienniale and Itaú Cultural Award. She is part of the Vergel teaching team, participating in the “Pintando en el Hospital” [“Painting in the Hospital”] programme. She lives and works in Buenos Aires.

At the request of the Museo Moderno, Emilia de las Carreras presents Harapos diabla [Devil’s Rags], a work which is part of a series of large mobiles that incorporate different elements the artist collects on her daily walks, such as metal tabs or butterfly wings, and tresses of her own and her friends’ braided hair. By concentrating on items that are normally discarded or ignored, de las Carreras weaves a constellation of the spaces she moves through and, at the same time, gives new life and mobility to the objects.

De las Carreras defines herself as a “surgical” artist. Out on her walks, she always looks at the ground and collects the small treasures she finds and then transforms into material for her works of art, which she produces in a ritualistic manner. In this way, the artist creates an emotional relationship with the objects and highlights their vulnerability and resistance.

The mobile, which is more than two metres long, was hung in front of the Nueva Librería bookshop, at the intersection of Balcarce and Estados Unidos streets. The orange wall of the building served as the backdrop and the support that allowed the mobile to come to life and sway in the wind, thus bringing part of the urban microcosm to life on a large scale.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Emilia de las Carreras, Harapos diabla [Devil’s Rags], 2021, Mobile made of metal tabs, nylon thread, butterflies and braided strands of hair. Located out front of the Nueva Librería bookshop, San Telmo.

Bijouterie para camiones Real State [Bijouterie for Real State Trucks] - Daniel Basso

Daniel Basso (Mar del Plata, 1974) studied painting at the Escuela Superior de Artes Visuales de Mar del Plata. He has received grants from Fundación Antorchas, the Fondo Nacional de las Artes, Fundación Telefónica, TRAMA (sponsored by the Rijk Academie) and the National Ministry of Culture. His solo exhibitions include Bijouterie para camiones (Galería Appetite, Buenos Aires, 2008), Tour blando (Centro Cultural Recoleta, Buenos Aires, 2016) Maple&Co. (OSDE Foundation, 2017), Richmond, Reggo, Real (The White Lodge, Córdoba, 2018) Farola. Tapiz. Túnica (Calvaresi Contemporáneo, Buenos Aires, 2019), among others. His work has been shown at numerous group exhibitions, biennials, fairs and salons, and is part of different public and private collections. In 2017, he was selected for the Braque Prize and, in 2019, he received the first Itaú Prize in Visual Arts. He completed a three-month residency at Atelier Mondial, Basel, Switzerland, and in 2009, together with the artist Juan José Souto, founded the Mundo Dios project in Mar del Plata, a national reference for contemporary art. He lives and works in Buenos Aires.

Daniel Basso is a highly experienced artist from Mar del Plata. His work focuses on developing sculptural pieces that lie somewhere between the decorative and the utilitarian. Basso takes the decorative style of the chalets built in Mar del Plata in the 1950s and 1960s as his reference point, placing a special focus on their characteristic mouldings and materials.

For KM1, the artist presents Bijouterie para camiones Real State [Bijouterie for Real State Trucks], in which he intervenes in the front grille of a moving van, upon which he mounts his pieces inspired by architectural columns along with a large glossy acrylic jewel. With this action, Basso generates a dual transformation of the objects. On the one hand, he changes the context and scale of the architectural elements, turning them into precious jewels, and on the other, he uses the truck as the body and support on which he places his items. Thus, the truck’s mirrors become ears while the grille becomes the support for a large brooch.

Although the series was exhibited at the Apettite gallery in 2008, this is the first time he has presented it on a vehicle in the streets of Buenos Aires. By exhibiting the works in the public space, the artist’s intention to display his truck bijouterie in the medium and space for which it was designed finally comes to fruition.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Daniel Basso, Bijouterie para camiones Real State [Bijouterie for Real State Trucks], San Telmo, 2021, An installation of wood and acrylic pieces mounted on a truck.

Onda Fixie - Cartón Pintado

Mariano Altamirano (Buenos Aires, 1988), known as Cartón Pintado (Painted Cardboard), is a self-taught painter and musician. He started painting in his room, using mixed media on large pieces of cardboard he found in the street. In 2019, he participated in group exhibitions at the Centro Cultural Haroldo Conti and at the Alpha Centauri gallery in Buenos Aires. In 2020, his first solo show was held at the Quimera gallery, curated by caterine ful lov (a project by Nina Kovensky and Lucía Reissig). He is currently artist-in-residence at Munar / Boca de Fuego. He also composes and sings love songs and takes urban rhythms and twerk classes. He lives and works in Buenos Aires.

Cartón Pintado has produced a series of striking collages, full of colour and strength. He uses recycled cardboard as his support and works with oil, acrylic, aerosol and objects such as shoelaces. Different characters that range from the mythological to the domestic appear in his paintings, which present an intimate and sensorial journey throughout which his emotional, dream-like vision unfolds.

For KM1, the artist produced five paintings, in a loving and humble gesture, for a bicycle shop in the San Telmo neighbourhood. They are portraits of his friends and pets, mixed with fantastic beasts, spider women, winged and shiny beings.

With his work, Cartón transforms the everyday, giving materials new uses and adding a touch of magic to surfaces. A clear example is the painting MariPosa [Butterfly], which he has located at the entrance to the bicycle shop, and in which two pizza boxes are transformed into wings. According to the artist, playing with the popular and the precious, this work symbolises the ephemeral nature of time and the measures that are necessary to enjoy it properly.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Cartón Pintado, Onda fixie [Fixie Style], 2021, Intervention with five oils and acrylics on cardboard, at the Mila bicycle shop.

Siesta unicornio [Unicorn Nap] - Francisco Montes

Francisco Montes (San Fernando, 1995) studied at the Universidad del Cine. He participated in the Artistas x Artistas and the Centro de Investigaciones Artísticas (CIA) programmes. He studied painting with Mariana López and attended clinics and workshops with Fernanda Laguna, Santiago Villanueva and Roberto Jacoby, among others. Montes also participated in El burro y la moto (2018), an exhibition curated by Nicanor Aráoz and Flavia Da Rin, and held his first solo show, La casa del incesto (2019), in an abandoned house. He lives and works in Buenos Aires.

Siesta unicornio [Unicorn Nap] is a series of paintings executed by artist Francisco Montes on the windows of the El Triunfo garage, a car park located in an old building on Mexico street in the San Telmo neighbourhood. Montes painted four of the windows with figures that represent the reflection of a butterfly, bathers from other dimensions and a sleeping unicorn. Montes’ work evokes both fantasy and the occult.

In recent years, the artist has produced paintings on translucent surfaces, such as glass or transparent plastic. In this way, he underlines the ritualistic spirit of his painting; it is a form that aspires to function as a portal to other perceptive states. Often his paintings depict animals and strange creatures that remind one of medieval bestiaries. Instead of a brush, Montes uses an airbrush as his main tool, and thus achieves forms with blurred boundaries that lend a dreamlike atmosphere to his pieces.

In this series, Montes refers to the medieval tapestry collection of The Cloisters branch of the Metropolitan Museum in New York. These feature the central figure of a unicorn, which symbolises the figure of Christ, immortality and wisdom. Montes’ insistence on bringing the figure into the present reflects on how mythical elements of the past have survived and on their new meaning as part of the economic transactions of today.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Francisco Montes, Siesta unicornio [Unicorn Nap], 2021, An intervention of the windows of the El Triunfo garage, acrylic paint and airbrush on glass.

Gauzy - Aurora Castillo

Aurora Castillo (Buenos Aires, 1987) studied at the Instituto Vocacional de Arte Manuel J. de Labardén (IVA) and at the Escuela de Bellas Artes Rogelio Yrurtia. She has trained at Diana Aisenberg’s clinics since 2013. She attended workshops held by Eduardo Stupía and Alejandra Seeber at the Universidad Torcuato Di Tella Artists’ Programme in 2012, and by Paula Massarutti and Severine Hubard at the Centro de Investigaciones Artísticas (CIA), in 2013. In 2017, she completed a sculpture workshop with Luis Terán. She also participated in the Boca de Fuego residency at Munar Arte, coordinated by Carlos Herrera, during 2018 and 2019. She has been represented by Moria Galería since 2020. She lives and works in Buenos Aires.

With their lightness and transparency, the two large swathes of fabric that Aurora Castillo lets fall from a balcony aspire to dissolve the material to become pure colour. With them, the artist investigates the uncertain boundary that exists between painting and sculpture, and wonders whether colour alone can generate a space, occupy a place, become a body, be a sculpture in and of itself.

With their larger-than-human scale and resemblance to flags, the pieces recall the public ambition of monumental sculpture. However, her works quickly move away from these references and create a twist on them, resembling and nestling in the feminine traditions of textile art and a child-like palette. In this way, they forge an alliance with a fluid and moving world, with artistic traditions that are at once alternative and domestic.

The pieces were first shown as part of Un bosquejo de la intemperie [A Sketch of the Outdoors], an exhibition organised at Munar, La Boca, in 2019. Now, hung from a balcony in San Telmo, their subtle fluttering comes together with the emblematic architecture of the neighbourhood to create a new setting where fabric and concrete communicate and complement each other to create a composition that calls for a more organic, softer, friendlier life.

The installation is part of the KM1 programme, a series of artistic interventions carried out by the Museo Moderno in the San Telmo neighbourhood.

Aurora Castillo, Gauzy, an urban intervention of painted voile fabrics hanging from façades, 2021

Eclipse - Antonella Agesta

Antonella Agesta (Temperley, 1993) studied Visual Arts and specialized in painting at the Universidad Nacional de las Artes. She participated in independent training clinics and workshops, such as the 2017 edition of the Universidad Torcuato Di Tella Artists’ Program. Since 2017, she has participated in both group and solo exhibitions, including the Young Art Bienniale at Centro Cultural Recoleta (2017), Premio Itaú Artes Visuales at Casa Nacional del Bicentenario (2018), Ya nos estamos yendo [We are already on our way out] at Universidad Di Tella (2018), the 73rd Edition of the Salón Nacional de Rosario (2019) and Antosofías at the Selvanegra Galería (2019). Antonella teaches art workshops for children and adults. Since 2019, she has been an editor at Jennifer, an art and current affairs digital magazine. She lives and works in Buenos Aires.

Antonella Agesta interviene tres vidrieras de anticuarios tradicionales del barrio de San Telmo con una serie de pinturas de formatos variados. En ellas, la artista retrata objetos antiguos y preciosos desde una perspectiva íntima y fantasiosa.

Para la artista, la instalación es una manera de hacer que las pinturas regresen a su origen. La serie de obras, en las que objetos casi mágicos se recortan sobre cortinados, surgieron de una investigación en la que Agesta caminaba y recorría anticuarios, buscando y encontrando elementos antiguos con los que se vinculaba simbólica y afectivamente para luego pintarlos.

A través de su obra, en la que relaciona la pintura contemporánea con la tradición y la historia, Agesta les da un poder casi mágico a estos objetos. A veces por su tratamiento delicado y detallista, otras por la aparición de telones envolventes que se abren como portales a otros puntos del universo, las piezas aparecen como joyas, talismanes o amuletos que conjuran el pasado y la taumaturgia.

La acción forma parte del programa KM1, una serie de intervenciones artísticas que el Museo Moderno lleva adelante en el barrio de San Telmo. Agradecemos a Anticuario Finocchi, Calvaresi Antiquariato e Imperio Antigüedades por su participación.

Antonella Agesta, Eclipse, a pictorial installation in San Telmo’s antique shops, 2021.

Public Dress - Nina Kunan

Nina Kunan (1990, Buenos Aires) is a visual artist and is a Teacher with a Bachelor of Arts degree from the University of Buenos Aires. She studied sewing and upholstery and attended a clinic and workshop with Marina De Caro. She worked for the Centro de Investigaciones Artísticas in 2018. She studied painting and drawing with Eduardo Stupía (Universidad Torcuato Di Tella, 2015 and 2016), Alfredo Londaibere and Bárbara Low. She won the BECAR Cultural Exchange grant (Turin, 2019) and the Creation Grant of the Fondo Nacional de las Artes (2018). She was selected for the Salón Nacional (2021), won the KLEMM (2019) and Proyecto-A (2017) awards, and she participated in the RARO Madrid Residencies (2017). In 2020 she opened her sex shop, Arrepentida. She was a member of the self-managed project teams and of collectives such as La Baranda Galería, Editorial Muchas Nueces and Proyecto NUM.

Convocada por el Museo Moderno, Nina Kunan vistió los bolardos de la esquina de las calles Chile y Perú y las columnas de Parque Lezama. Así, la artista continúa con su serie de señalamientos en el espacio público, en los que interviene algunos mobiliarios urbanos con accesorios textiles confeccionados manualmente.

Con estas acciones, la artista subraya elementos del diseño urbano que son tan cotidianos como ignorados. Kunan devela la sensualidad de estos objetos a través de un gesto entre humorístico y cariñoso, e invita a relacionarnos con la ciudad de una manera más táctil y lúdica.

En su trabajo, Kunan se ha interesado especialmente por el fetichismo, la parafilia y la capacidad de seducción de los objetos. El cierre, el ocultamiento y el develamiento, el reencuadre de lo señalado, las telas plásticas y brillantes son elementos recurrentes en su trabajo, que dan cuenta de una aproximación sensual a aquello que nos rodea.

La acción forma parte del programa KM1, una serie de intervenciones artísticas que el Museo Moderno lleva adelante en el barrio de San Telmo.

Nina Kunan, Vestido público [Public dress], custom-made textile intervention in the bollards of Chile and Peru streets and the columns of Parque Lezama, 2021.

Búnker - Julieta Tarraubella

Julieta Tarraubella (1991, Argentina/Peru) is a visual artist, image and sound designer, and a graduate of UBA. In 2014 she won the Escala AUGM exchange grant to study Visual Arts and Medialogy at UNICAMP, Brazil. In 2015 she was selected for the internship program at the Peggy Guggenheim Collection in Venice, Italy. In 2017, she participated in the Film Program at Universidad Torcuato Di Tella. In 2019, she won the Young Art Bienniale in Buenos Aires. In 2020, she received a mention for the Fundación Bunge & Born Photography and Video Contest and was selected to participate in the Byte Footage Festival. Her work can be found in renowned Argentine collections. She lives and works in Buenos Aires.

Búnker es una performance en la que tres personas con gafas de matriz led atraviesan un paisaje urbano distópico. En las gafas se reproducen continuamente titulares de noticias extraídas de portales de internet. Los personajes caminan y recorren una ciudad enceguecidos por la información que consumimos a diario, o, quizás, observan la realidad a través del filtro deformante de las noticias y los titulares periodísticos.

Búnker fue presentado por primera vez en el marco de la exposición Perfuch, en la galería UV de Buenos Aires, en 2018. En esta ocasión, la artista seleccionó espacios cercanos a las recovas y la autopista, en el Barrio de San Telmo que, por su gran escala y tonos grises, remiten a una ciudad postindustrial y deshumanizada. Como varias de sus piezas, Búnker cuestiona el vínculo que establecemos con la tecnología y cómo esta modifica nuestras percepciones.

La acción forma parte del programa KM1, una serie de intervenciones artísticas en el barrio de San Telmo que el Museo Moderno lleva adelante.

EXPOSICIONES PRESENTES
The Unrelenting Flame: The Intrepid March of the Collection of the Museo de Arte Moderno de Buenos Aires
Cotelito: I Return Like a Garden After the Winter
Diana Aisenberg: Mystical Robotics in the Crystal Economy
Elian Chali: Unexpected Plane