{"id":32973,"date":"2023-06-08T16:44:24","date_gmt":"2023-06-08T19:44:24","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/el-arte-ese-rio-interminable\/"},"modified":"2024-09-20T16:02:35","modified_gmt":"2024-09-20T19:02:35","slug":"el-arte-ese-rio-interminable","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/el-arte-ese-rio-interminable\/","title":{"rendered":"Art, That Endless River"},"content":{"rendered":"\t\t
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The Museo de Arte Moderno de Buenos Aires presents its new 2023 programme, El arte, ese r\u00edo interminable <\/em>[Art, That Endless River<\/em>], which will extend across exhibitions throughout its galleries from April to August. This ambitious programme aims to showcase the power of the contemporary art scene in Argentina from the 1960s to the present. Over the course of this period, the country has been home to one of the world\u2019s most vibrant and interdisciplinary artistic communities, one that has been at the forefront of experimentation and has acted in response to a turbulent context marked by a myriad of economic, political and social challenges. Despite many highly vulnerable experiences, Argentina\u2019s artistic community has found strength in adversity and has been able to create \u2013 free of speculations or concessions \u2013 complex and vital, political and anti-establishment art, defying conventions and the latest trends, expressed through powerful, mature and internationally relevant voices. El arte, ese r\u00edo interminable<\/em> is a quote from the final verse of Jorge Luis Borges\u2019 Arte poetica<\/em> [The Art of Poetry<\/em>], in which the great Argentinean writer reflects on the poiesis<\/em>, or power, of art, which in itself has the power to create reality. Our 2023 exhibition programme has that same ambition in mind: to reveal the power of Argentinean art as an agent capable of transforming both historical and current realities.<\/p>

In November, the Museo Moderno will host the annual conference of CIMAM, the International Committee for Museums and Collections of Modern Art. More than two hundred museum directors from around the world will attend this annual meeting to discuss the role of contemporary art museums. Bearing in mind our responsibility to present the art of Argentina to the museum\u2019s diverse audiences as well as to local and international guests, the Museo Moderno\u2019s curatorial team took on the challenge of designing a wide-ranging programme of new exhibitions that, together, offer multiple ways of accessing the infinite and varied history of contemporary artistic creation in Argentina. El arte, ese r\u00edo interminable<\/em> thus seeks to present a plurality of artists and movements from the country\u2019s art scene and to show what identifies us as a country and region, our exuberant territory, our ancestral knowledge, as well as our culture, dreams, anxieties, questions and challenges. It also seeks to provide an account of the substantial interdisciplinary nature of our art, since the title of the overall programme and those of each of the exhibitions it includes have all been drawn from the works of our greatest writers and poets, thus offering a more thorough representation of everything we are.<\/p>

To build this ambitious programme, the Museo Moderno delved into much research and approached the 1970s from different points of view. Juguetes rabiosos<\/em> [Mad Toys<\/em>], curated by Patricio Orellana, brings together works by important Argentinean artists that can be found in the museum\u2019s collection. These are artists who reshaped the history of the decade and of contemporary art through gestures of destruction and dematerialisation, and attitudes that may or may not have been playful, but were always ground-breaking and never conformist. La vida nuevamente<\/em> [Life Anew<\/em>], curated by Francisco Lemus, focuses on the emergence in the history of modern and contemporary dance in Argentina of avant-garde women who, at the Instituto Di Tella and other spaces around the city in the 1970s, made an imprint with their extremely audacious, experimental attitudes.<\/p>

The museum also pays homage to artist Nicol\u00e1s Garc\u00eda Uriburu with the exhibition Manifiesto verde<\/em> [Green Manifesto<\/em>], which showcases the pioneering ecological art that he created as early as the 1960s. This exhibition presents curator Alejandra Aguado\u2019s pictorial thesis, developed in dialogue with guest artist Florencia B\u00f6htlingk, on important Argentinean painters who are interested in recognising and protecting the vigour of the natural world, that \u201cwild super-organism of which we are a part\u201d. There is also A 18 minutos del sol<\/em> [18 Minutes from the Sun<\/em>], an exhibition that focuses on the territory and has an all-encompassing vision. Curated by Javier Villa and Marcos Kr\u00e4mer, it continues a project promoted by the Moderno for several years now: an investigation of Argentina’s federal artistic production. On this ambitious occasion, the exhibition presents the diverse worldviews of modern and contemporary Argentinean artists from extremely diverse backgrounds, as well as their examinations and perceptions of science, esotericism and fiction. The exhibition, in turn, engages in a dialogue with the staging of El borde de s\u00ed mismo<\/em> [The Edge of Itself<\/em>], the theatre cycle conceived by Alejandro Tantanian for the Museo Moderno which, in this latest edition, has been co-curated by Javier Villa. It will take the shape of dialogues that drift between the visual and the performing arts, pushing the limits of each discipline, and re-emerging with a new, unprecedented and surprising perspective.<\/p>

The Museo Moderno will also soon present Sof\u00eda Torres Kosiba:<\/em> Bravaria<\/em>, one of the solo exhibitions that is the result of the work undertaken throughout the country by Ra\u00fal Flores, curator of the Moderno\u2019s Federal Programme. Later, in August, we will feature an exhibition by artists Guillermo Faivovich and Nicol\u00e1s Goldberg, curated by Javier Villa, which will look at the cultural and scientific history of the Campo del Cielo meteorites that fell to earth more than 4,000 years ago in what are now the provinces of Chaco and Santiago del Estero.<\/p>

Finally, the programme will close with the exhibitions Cultura colibr\u00ed<\/em> [Hummingbird Culture<\/em>] and Cien caminos en un solo d\u00eda<\/em> [One Hundred Roads in a Day<\/em>]. Curated by Jimena Ferreiro, these exhibitions put two recent turning points in Argentinean art at centre stage. The first is based on her research into sexual exiles during the last military dictatorship, the return to democracy, and the celebratory experimentation of the bodies of the counterculture in the 1980s and 1990s. The second focuses on the strength of the artistic ideas that burst onto the scene following the country”s economic crisis of 2001, when the Argentinean financial system collapsed. On a monumental urban landscape created especially for this exhibition by artist Luciana Lamothe, a dozen Argentinean artists who work with the materials they have at hand in the city \u2013 understood as a laboratory \u2013 investigate the possibilities of a vital, dramatic and playful urban art that rises from the rubble.<\/p>

The group exhibitions bring together works from the Museo Moderno\u2019s own collection, loans from institutions and private collectors as well as major commissions. Manifiesto verde<\/em> [Green Manifesto<\/em>], by Florencia B\u00f6htlingk; Juguetes rabiosos<\/em> [Mad Toys<\/em>], by Joaqu\u00edn Aras; Cultura colibr\u00ed<\/em> [Hummingbird Culture<\/em>], by the poet Fernando Noy; and Cien caminos en un solo d\u00eda<\/em> [One Hundred Roads in a Day<\/em>], by Luciana Lamothe are\u00a0 four works especially designed for \u00a0the 2023 programme, which were based on its themes and time periods, and conceived through dialogue by these incisive, sensible Argentinean artists very much interested in the periods and themes proposed. We are therefore immensely grateful to these four guest artists for their dedication and generosity.<\/p>

Victoria Noorthoorn, Director of the Museo Moderno<\/p><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Sofia Torres Kosiba: Bravaria<\/a><\/strong><\/h5><\/div><\/div>

The Museo de Arte Moderno de Buenos Aires is honoured to present\u00a0Bravaria<\/em>, the first solo exhibition by the artist Sofia Torres Kosiba (C\u00f3rdoba, 1974) at a museum in the City of Buenos Aires.
[Read more\u2026]<\/a><\/strong><\/p>

Curated by:<\/strong> Ra\u00fal Flores
Artist:<\/strong>\u00a0Sofia Torres Kosiba<\/p><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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18 Minutes from the Sun<\/a><\/strong><\/h5><\/div><\/div>

18 Minutes from the Sun<\/em>\u00a0is an exhibition that addresses astronomical observation and access to outer space as a means of spurring a dialogue between artistic imagination and scientific exploration. Outer space is considered from three different and interconnected perspectives: science, indigenous cosmologies and spirituality.
[Read more\u2026]<\/a><\/strong><\/p>

Curated by<\/strong>: Javier Villa and Marcos Kr\u00e4mer
Exhibition Design:<\/strong> Iv\u00e1n R\u00f6sler
Production<\/strong>: Julieta Potenze
Artists: <\/strong>Erik Arazi, Nicol\u00e1s Bacal, Gonzalo Beccar Varela, Antonio Berni, Diego Bianchi, Erica Bohm, Martha Boto, Manuel Brandazza, Adriana Bustos, Colectivo Cabezudxs, Feliciano Centuri\u00f3n, Mauricio Cerbellera, Germaine Derbecq, Sonia Delaunay, Sebasti\u00e1n Diaz Morales, Diana Dowek, Faivovich & Goldberg, Beatriz Ferreyra, Pauline Fondevila, Lucio Fontana, Raquel Forner, Gertrudis Frischenschlager, Daniel Garc\u00eda, Carlos Luis Garc\u00eda Bes, Maia Gatt\u00e1s Vargas, Noem\u00ed Gerstein, Sebasti\u00e1n Gord\u00edn, Diego Gravinese, V\u00edctor Grippo, Alberto Greco, Silvia Gurfein, Miguel Harte, Alberto Heredia, Alicia Herrero, Alfredo Hlito, Agust\u00edn Inchausti, Enio Iommi, Vassily Kandinski, Gyula Kosice, Fernanda Laguna, Jos\u00e9 Luis Landet, Benito Laren, Daniel Leber, Lux Lindner, Ra\u00fal Lozza, Lea Lublin, V\u00edctor Magari\u00f1os D., Liliana Maresca, Juan Mel\u00e9, Sebasti\u00e1n Mercado, Estanislao Mijalichen, Mauro Mill\u00e1n, Emiliano Miliyo, Ad Minoliti, Eduardo Molinari, Eduardo Navarro, H\u00e9ctor G. Oesterheld, Ogwa, Martha Peluffo, Alicia Penalba, Andr\u00e9s Pereira Paz, Emilio Pettoruti, Francis Picabia, Alberto Pilone, Micaela Pi\u00f1ero, Rogelio Polesello, Marcelo Pombo, Emilio Renart, Ingrid Roddick, Federico Rold\u00e1n Vukonich, Christian Rom\u00e1n, Hern\u00e1n Salvo, Dami\u00e1n Santa Cruz, Rub\u00e9n Santanton\u00edn, Mario Scorzelli, Aldo Sessa, Francisco Solano L\u00f3pez, Xul Solar, Cecilia Sosa, Grete Stern, Axel Strachnoy, Diana Teira, Juli\u00e1n Ter\u00e1n, Colectivo Tha\u00f1\u00ed\/Viene del monte, Andr\u00e9s Toro, Joaqu\u00edn Torres Garc\u00eda, Rodrigo T\u00fanica, Adri\u00e1n Unger, Gregorio Vard\u00e1nega, Mariano dal Verme, Jos\u00e9 Villalonga, W\u00fcs\u00fcw\u00fcl Wirka A Pana, Os\u00edas Yanov, Yente<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Green Manifesto<\/a><\/strong><\/h5><\/div><\/div>

Green Manifesto<\/em>\u00a0takes its name from a declaration written by Nicol\u00e1s Garc\u00eda Uriburu (Buenos Aires, 1937-2016) in 1971, in which he expresses his desire to denounce the antagonism between nature and civilisation. Taking as its starting point the work of this pioneering artist and activist who, since the 1960s, has denounced the ways in which human action has destructively advanced over the water, earth, flora and fauna of the world, this exhibition highlights numerous artists who, like Garc\u00eda Uriburu, have used their work to show that nature, far from being a simple object of domestication or domination, is a living being.
[Read more\u2026]<\/a><\/strong><\/p>

Guest Artist:<\/strong> Florencia B\u00f6htlingk
Curated by:<\/strong> Alejandra Aguado
Curatorial Assistance:<\/strong> Rodrigo Barcos
Exhibition Design:<\/strong> Daniela Thomas and Felipe Tassara in collaboration with Iv\u00e1n R\u00f6sler
Production<\/strong>: Edgar Lacombe
Artists: <\/strong>Nicol\u00e1s Garc\u00eda Uriburu in dialogue with Luis Fernando Benedit, Florencia B\u00f6htlingk, Mel\u00e9 Bruniard, Juana Butler, Feliciano Centuri\u00f3n, Nora Correas, Casimiro Domingo, Raquel Forner, Ricardo Garabito, Edgardo Gim\u00e9nez, Juan Grela, Aid Herrera, Lido Iacopetti, Marcelo Pombo, Juan Tessi<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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A Hundred Roads in a Day<\/a><\/strong><\/h5><\/div><\/div>

Rosario Bl\u00e9fari prefaces this exhibition with a line from\u00a0Excursiones<\/em>\u00a0[Excursions<\/em>], the cult album she released with her band Su\u00e1rez in 1999. Her songs evoke emotional images and feelings of the city, while illustrating different ways of moving through it, sometimes aimlessly, discovering ways to reinvent it.
[Read more\u2026]<\/a><\/strong><\/p>

Staging:<\/strong> Luciana Lamothe
Curated by:<\/strong> Jimena Ferreiro
Production Coordination:<\/strong> Iv\u00e1n R\u00f6sler
Production<\/strong>: Mar\u00eda Venancio and Martina Estel\u00ed
Artists: <\/strong>Nicanor Ar\u00e1oz, Daniel Basso, Facundo Bel\u00e9n, Belleza y Felicidad Fiorito, Flavia Da Rin, Diego Bianchi, Eugenia Calvo, Paula Castro, Cynthia Cohen, Clara Esborraz, Tom\u00e1s Espina, Mariana Ferrari, Diego Figueroa, Graciela Hasper, Carlos Herrera, Juliana Iriart, Irina Kirchuk, Luciana Lamothe, Mart\u00edn Leg\u00f3n, Mariana L\u00f3pez, Valentina Liernur, Tom\u00e1s Maglione, Ver\u00f3nica Meloni, Clorindo Testa<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Hummingbird Culture<\/a><\/strong><\/h5><\/div><\/div>

According to Fernando Noy, Batato Barea\u2019s \u201cnumeritos\u201d (\u201clittle numbers\u201d) \u2013 old theatrical slang used to avoid the foreign and neutral word \u201cperformance\u201d \u2013 in the underworld scene of Buenos Aires took place with the speed and colourful magic of a hummingbird. Time consumed each of his appearances on stage with the same voracity and transience that it did his own life\u00a0Hummingbird Culture<\/em>\u00a0evokes the fantasies of the counterculture in post-dictatorship Argentina, through the chronicles and poetry of Fernando Noy
[Read more\u2026]<\/a><\/strong><\/p>

Host Artist:\u00a0<\/strong>Fernando Noy
Curated by:<\/strong> Jimena Ferreiro
Exhibition Design:<\/strong> Daniela Thomas, Felipe Tassara and Iv\u00e1n R\u00f6sler
Production<\/strong>: Julieta Potenze
Artists:\u00a0<\/strong>Diana Aisenberg, Archivo de la Memoria Trans, Hugo Arias, Rub\u00e9n Baldemar, Batato Barea,\u00a0Mildred Burton, Delia Cancela, Chiachio & Giannone + Agustina Comedi, Marina De Caro, Sergio\u00a0De\u00a0Loof, Facundo de Zuvir\u00eda,\u00a0Diana Dowek, Mart\u00edn Farnholc Halley, Alejandra Fenochio, Luis Frangella, Foto Estudio Luisita, Ana Gallardo, Santiago Garc\u00eda Saenz, Edgardo Gim\u00e9nez,\u00a0Alberto Goldenstein, Federico Klemm, Guillermo Kuitca, Alejandro Kuropatwa, Fernanda Laguna, B\u00e1rbara\u00a0Bianca LaVogue, Alfredo Londaibere, Gustavo Marrone, Marta Minuj\u00edn, Fernando Noy,\u00a0N\u00e9stor Perlongher,\u00a0La Chola Poblete, Omar Schiliro,\u00a0Pablo Su\u00e1rez, Juan Tessi, Carlos Ur\u00eda<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Dance Today<\/a><\/strong><\/h5><\/div><\/div>

In the first half of the twentieth century, modern dance spread and installed itself in different training spaces in Argentina, occupying a performance space that enabled an aesthetic renewal. In the 1960s, dance took on a more experimental perspective through the Instituto Di Tella and other stages in Buenos Aires.
[Read more\u2026]<\/a><\/strong><\/p>

Artists: <\/strong>Amended to reflect the following list:<\/p>

Dance:<\/strong> Ana Itelman, Ana Kamien, Ana Mar\u00eda Stekelman, Cecilia Ingenieros, Dore Hoyer, Esther Ferrando, Graciela Mart\u00ednez, Iris Scaccheri, Jos\u00e9 C. Campietelli, Laura Mouta, L\u00eda Jel\u00edn, Mar\u00eda Fux, Maril\u00fa Marini, Marucha Bo, Mercedes Robirosa, Miriam Winslow, Oscar Araiz, Otto Werberg, Patricia Stokoe, Renata Kestelboim, Renate Schottelius, Rodolfo Danton, Estela Maris, Susana Tambutti, Susana Zimmermann
Graphic Design:<\/strong> Carlos Soler, Edgardo Gim\u00e9nez, Humberto Rivas, Juan Andralis, Juan Carlos Dist\u00e9fano, Norberto Coppola, Roberto Alvarado, Rub\u00e9n Fontana
Photography:<\/strong> Annemarie Heinrich, Alicia Sanguinetti, Eduardo Newark, Leone Sonnino, Susana Th\u00e9non
Video: <\/strong>Ignacio Masllorens, Julia Parodi, Silvina Szperling
Music:\u00a0<\/strong>Mart\u00edn Rom\u00e1n, Miguel\u00a0\u00c1ngel\u00a0Rondano
Costumes and objects<\/strong>: Alfredo Arias, Mar\u00eda Julia Bertotto, Delia Cancela, Oscar Palacio<\/p>

Curated by:<\/strong> Francisco Lemus
Curatorial Assistance<\/strong>: Violeta Gonz\u00e1lez Santos
Exhibition Design:<\/strong> Daniela Thomas, Felipe Tassara e Iv\u00e1n R\u00f6sler
Graphic Design<\/strong>: Job Salorio
Production<\/strong>: Patricia Pedraza<\/p>

Special thanks for their contributions to the research<\/strong>: Victoria Alcal\u00e1, Irene Aschero, Oscar Araiz, Anabel Caeiro and Natalia Iglesias (Estudio Mar\u00eda Fux), Margarita Bali, Mariana Bellotto, Mar\u00eda Julia Bertotto, Mariela Cant\u00fa (Arca Video Argentino), Patricia Dorin, Paula F\u00e9lix-Didier, Leandro Varela and Andr\u00e9s Levinson (Museo del Cine), Victoria Fortuna, Carlos Fos and P\u00eda Villaronga (CEDOC \u201cAna Itelman\u201d, Complejo Teatral de Buenos Aires), Diego Fischerman, Rub\u00e9n Fontana, Fernando Garc\u00eda, Mar\u00eda Martha Gigena, Edgardo Gim\u00e9nez, Beba Gonz\u00e1lez Toledo, Marcelo Isse Moyano, Silvia Kaehler, D\u00e9borah Kalmar, Ana Kamien, Sof\u00eda Kauer and Nicol\u00e1s Licera Vidal (Investigaci\u00f3n hist\u00f3rica, Archivo Graciela Mart\u00ednez), Kado Kostzer, L\u00eda Jel\u00edn, Fernanda Pinta, Mart\u00edn Paz and In\u00e9s Esteves (Archivo IIAC-UNTREF), Lucrecia Platt, Wustavo Quiroga, Alicia Sanguinetti, Sergio Selim, Andrea Servera, Diana Szeimblum, Leone Sonnino, Silvina Szperling, Susana Tambutti, Pablo Tesoriere, Milka Truol, Javier Villa<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Mad Toys<\/a><\/strong><\/h5><\/div><\/div>

In 1961, Kenneth Kemble invited a group of artists to participate in an exhibition in which, instead of creating works of art, they would destroy them. The exhibition,\u00a0Arte destructivo<\/em>\u00a0[Destructive Art<\/em>], which was held at the Galer\u00eda Lirolay in Buenos Aires, showed a series of objects \u2013 ranging from furniture and umbrellas to a large number of children\u2019s toys \u2013 subjected to all kinds of destruction and presented in an installation that was as ominous as it was humorous.
[Read more\u2026]<\/a><\/strong><\/p>

Guest Artist:<\/strong>\u00a0Joaqu\u00edn Aras
Curated by:<\/strong> Patricio Orellana
Exhibition Design:<\/strong> Daniela Thomas, Felipe Tassara and Iv\u00e1n R\u00f6sler
Production<\/strong>: Julieta Potenze
Artists: <\/strong>Joaqu\u00edn Aras, Fernando Birri, Zulema Ciordia, Noem\u00ed Di Benedetto, Leonardo Favio, Le\u00f3n Ferrari, Luis Gowland Moreno, Alberto Greco, Alberto Heredia, Kenneth Kemble, Julio Ludue\u00f1a, R\u00f3mulo Macci\u00f3, Marta Minuj\u00edn, Luis Felipe No\u00e9, Margarita Paksa, Aldo Paparella, Federico Manuel Peralta Ramos, Dalila Puzzovio, Nicol\u00e1s Rubi\u00f3, Rub\u00e9n Santanton\u00edn, Am\u00e9rico Sp\u00f3sito, Edgardo Antonio Vigo, Luis Alberto Wells, Yente<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Faivovich & Goldberg<\/a><\/strong><\/h5><\/div><\/div>

The word \u2018otumpa<\/em>\u2019 comes from the Chiriguano term \u2018motumpa<\/em>\u2019, meaning to \u2018apotheosise, divinise or deify\u2019. This was the Chiriguanos\u2019 name for a flat plain with tangled vegetation that was difficult to penetrate, and also for a geological formation concealing such a place: a pit possibly generated by the impact of an extra-terrestrial object.
[Read more\u2026]<\/a><\/strong><\/p>

Artists:<\/strong> Guillermo Faivovich and Nicol\u00e1s Goldberg
Curated by:<\/strong> Javier Villa
Production<\/strong>: Edgar Lacombe and Mar\u00eda Venancio<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

2023 Exhibition Programme<\/p>\n","protected":false},"featured_media":30608,"template":"","class_list":["post-32973","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/32973","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/exposiciones"}],"version-history":[{"count":37,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/32973\/revisions"}],"predecessor-version":[{"id":47162,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/32973\/revisions\/47162"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media\/30608"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=32973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}