{"id":50944,"date":"2025-02-24T12:46:43","date_gmt":"2025-02-24T15:46:43","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/maquina-teatro-el-periferico-de-objetos-1990-2009\/"},"modified":"2026-04-15T13:53:10","modified_gmt":"2026-04-15T16:53:10","slug":"maquina-teatro-el-periferico-de-objetos-1990-2009","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/maquina-teatro-el-periferico-de-objetos-1990-2009\/","title":{"rendered":"Theatre Machine: El Perif\u00e9rico de Objetos (1990\u20132009) Ana Alvarado, Emilio Garc\u00eda Wehbi, Rom\u00e1n Lamas and Daniel Veronese"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The group El Perif\u00e9rico de Objetos (1990-2009) revolutionised the Buenos Aires experimental theatre scene over the course of two decades, working under the direction of Ana Alvarado, Emilio Garc\u00eda Wehbi and Daniel Veronese, with the participation of Rom\u00e1n Lamas. Though they initially began to work together at the Grupo de Titiriteros [Puppeteers\u2019 Group] of the Teatro San Mart\u00edn, they began to imagine new possibilities for the traditional puppet show. In the wake of the impact made by artists such as Tadeusz Kantor, Pina Bausch and Dominique Houdart, the group staged their first show, <\/span>Ub\u00fa Rey<\/span><\/i> [<\/span>Ubu the King<\/span><\/i>], at the Parakultural in 1990, marking the beginning of a radical theatrical treatise about the body, objects and memory.\u00a0<\/span><\/p>\n

El Perif\u00e9rico invented the concept of the theatre of objects in Argentina, an art form in which inanimate objects are used as characters to tell stories. It established an unprecedented link between theatre and the visual arts with the use of \u2018ready-made puppets\u2019, anthropomorphic and zoomorphic hyper-realistic dolls with sculptural features, and influenced the development of \u2018installations\u2019 in the country.\u00a0<\/span><\/p>\n

In the absence of a politically-oriented programme and turning its back on the somewhat dogmatic legacy of independent theatre, El Perif\u00e9rico opened new avenues for questioning Argentina\u2019s recent history, state terror and the neoliberal politics of the 1990s. These elements elicited a fervent response from the public and the press, which ultimately led to the group performing in the world\u2019s most prestigious theatres.<\/span><\/p>\n

This exhibition has benefited greatly from the collaboration of the members of the group in the research, digitalisation of highly important historic documents, the restoration of objects and reconstruction of iconic pieces.\u00a0<\/span><\/p>\n

The proposed circuit through the exhibition reflects the evolution of the language the <\/span>Perifer\u00edcos<\/span><\/i> explored over the years: from the puppet theatre of their early shows to their complete takeover of the stage in <\/span>M\u00e1quina Hamlet<\/span><\/i> [<\/span>Hamletmachine<\/span><\/i>], from the monumentality of <\/span>Monteverdi M\u00e9todo B\u00e9lico<\/span><\/i> [<\/span>Monteverdi Warfare Method<\/span><\/i>] to the condensed poetry of <\/span>Manifiesto de ni\u00f1os<\/span><\/i> [<\/span>Children\u2019s Manifesto<\/span><\/i>]. The exhibition brings these objects to life once again, and, as if they were miniature time machines, transports the disruptive legacy of this group that transformed Argentina’s cultural and theatrical scene into the present.<\/span><\/p>\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\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Curated by<\/b>: Jimena Ferreiro, Andr\u00e9s Gallina y Alejandro Tantanian
<\/span>Exhibition Design<\/b>: Iv\u00e1n R\u00f6sler
<\/span>Production<\/b>: Julieta Potenze
<\/span>Visual concept<\/b>: Leando Ibarra<\/span><\/p>\n

Acknowledgments<\/b>: Magdalena Viggiani, Cecilia Candia, Carlos Furman, Centro de Documentaci\u00f3n de Teatro y Danza,del Complejo Teatral de Buenos Aires (CEDOC) and Sof\u00eda Bianco Beovide.
<\/span>We would also like to thank Mart\u00edn Antu\u00f1a, Cipriano Arg\u00fcello Pitt, Lucila Mazzini y Gabriela Halac for the research they have kindly contributed to this exhibition.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Theatre Machine: The Playlist<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t