{"id":55771,"date":"2025-05-06T14:13:36","date_gmt":"2025-05-06T17:13:36","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/exposiciones-en-cartel\/"},"modified":"2026-01-06T16:47:39","modified_gmt":"2026-01-06T19:47:39","slug":"exposiciones-en-cartel","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/exposiciones-en-cartel\/","title":{"rendered":"Exhibitions On Display"},"content":{"rendered":"\t\t
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The Museo Moderno is excited to announce <\/span>Exposiciones en cartel<\/span><\/i> [<\/span>Exhibitions On Display<\/span><\/i>], a theatre cycle and new genre of contemporary art exhibitions featuring never-before-staged works by leading performance artists, an enriching accompaniment to the 2025 annual programme, <\/span>Arte Es Teatro<\/span><\/i> [<\/span>Art Is Theatre<\/span><\/i>]. The Auditorium will thus be transformed into a hybrid space: both a stage and an exhibition hall.<\/span><\/p>

Exposiciones en cartel<\/span><\/i> brings together artists who are part of the history of the most daring theatre of recent decades, to present stage works that take place at a very particular overlap between contemporary art and dramaturgy, where happenings, performances and the constant crossover between disciplines create unique live experiences.<\/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

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Lolo y Lauti: El Gusanito [The Little Worm]<\/i>\n<\/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
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The duo of artists Lolo y Lauti opened the museum\u2019s new cycle, Exposiciones en Cartel [Exhibitions on Display], with their contemporary operatic version of the legendary <\/span>El Gusanito<\/span><\/i> [<\/span>The Little Worm<\/span><\/i>], an LP by Jorge De La Vega. Exposiciones en Cartel is a new proposal by the Public Programmes department to accompany 2025\u2019s <\/span>Arte es Teatro<\/span><\/i> [<\/span>Art Is Theatre<\/span><\/i>] exhibition. Four performances were held to full houses on the 15, 16 and 17 May, with singer and performer Daiana Rose lending her voice and body to ten songs, which were performed in the same sequence as they appeared on the LP released by the Olympia label in 1968. Against the backdrop of campy visuals by Lolo y Lauti and with musical direction provided by Hana Ciliberti, Daiana Rose gave new meaning to De La Vega\u2019s lyrics, revealing their continued relevance today. With this performance of <\/span>El Gusanito<\/span><\/i>, the Moderno marked the opening of the auditorium for upcoming editions of Exposiciones en Cartel, which will provide a hybrid space that overlaps our art galleries with theatrical stagings.\u00a0\u00a0<\/span><\/p>

Photos:<\/strong> Guido Limardo<\/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

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Artists:<\/b> Lolo y Lauti<\/span>
<\/span>Lyrics and music:<\/b> Jorge de la Vega<\/span>
<\/span>Direction and staging:<\/b> Lolo y Lauti<\/span>
<\/span>Performer:<\/b> Daiana Rose<\/span>
<\/span>Musical direction:<\/b> Florencia Hana Ciliberti<\/span>
<\/span>Musicians and arrangements:<\/b> Lola Granillo, Miguel Garruti<\/span>
<\/span>Video:<\/b> Rodrigo Moraes<\/span>
<\/span>Coreography:<\/b> Manuel Attwell<\/span>
<\/span>Costume design:<\/b> Ich<\/span>
<\/span>Production:<\/b> Victoria Nan\u00e1<\/span>
<\/span>Sound post-production:<\/b> Mariano Oliva<\/span>
<\/span>Assistant:<\/b> Z<\/span><\/p>

This project was made possible with the support of the Williams Foundation, Mozarteum Argentino, Cit\u00e9 internationale des arts (France), Ama Amoedo Foundation and the Festival Nueva \u00d3pera Buenos Aires.<\/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

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Performances:<\/b>
<\/b>Thursday 15 and Friday 16 May, at 7pm<\/span>
<\/span>Saturday 17 May, at 5pm and 7pm<\/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

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Cristina Banegas: Molly Bloom<\/i><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The renowned actress, acclaimed for her work in film, theatre and television, presents a one-woman show in which she performs Molly Bloom\u2019s monologue from the final chapter of James Joyce\u2019s <\/span>Ulysses<\/span><\/i>. Her adaptation results in a highly intense performance, with Banegas bringing to life this text that transformed literature. Directed by Carmen Baliero with stage design by Juan Jos\u00e9 Cambre.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Author:<\/strong> James Joyce
<\/span>Artist:<\/strong> Cristina Banegas
<\/span>Adapted by:<\/strong> Ana Alvarado, Cristina Banegas and Laura Fryd
<\/span>Translation:<\/strong> Cristina Banegas and Laura Fryd
<\/span>Performed by:<\/strong> Cristina Banegas
<\/span>Photography:<\/strong> Nora Lezano
<\/span>Stage design collaborators:<\/strong> Julieta Capece and Juan Teodoro
<\/span>Assistant director:<\/strong> Mat\u00edas Macri
<\/span>Executive producer and lighting design on the tour:<\/strong> Jorge Thefs
<\/span>Lighting design:<\/strong> Ver\u00f3nica Alcoba
<\/span>Art direction:<\/strong> Juan Jos\u00e9 Cambre
<\/span>Director:<\/strong> Carmen Baliero<\/span><\/p>

Performances:<\/strong> Thursday 7 and Friday 8 August, at 7 p.m<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Spregelburd\/Zypce: Nada m\u00e1s viejo [Nothing Older]<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The planned tribute to Rafael Squirru will not be able to take place. The historian tasked with gathering together his thoughts, life story and work has just died in a baffling incident at the racecourse, leaving no time to reorganise the evening. A pair of folk musicians, booked to provide the music for the event, have also just sent a statement, along with apologies and explanations that no one asked for. We will celebrate, in a patriotic gesture, the oldest things in the world: modernity and the avant-garde.<\/span><\/p>

In the absence of a museum and without a wealthy bourgeoisie to support the idea that our national art was ready to compete at the forefront of the avant-garde, Rafael Squirru loaded some paintings onto a ship \u2013 the <\/span>Yapey\u00fa<\/span><\/i> \u2013 and set sail on 28 September 1956 for the first world tour of the <\/span>Muestra flotante de 50 artistas argentinos<\/span><\/i> [<\/span>Floating Exhibition of 50 Argentinian Artists<\/span><\/i>]. Squirru wrote on the occasion: \u201cSome will smile when they see the obvious influences of Picasso, Klee or Mondrian; they will strive to find a folkloric touch in them and will be disappointed by the almost total absence of gauchos in wide-brimmed hats, beautiful young ladies, or picturesque Indians. So you will not see, gentlemen, what you expect to see from us. That is our fate. The captain of the <\/span>Yapey\u00fa<\/span><\/i> will give his version of events, while the facts refuse to be recounted in a single way.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Acknowledgements:<\/b> Viviana Usubiaga (historical consultant), Laura Bohnenblust (for her unprecedented book on the <\/span>Yapey\u00fa<\/span><\/i>), Teresa Baratta (archives, voices, photos and mementos), Mariano Llin\u00e1s (background discussions), Patricio Cotella (the only musician capable of teaching Spregelburd), Fernando Garc\u00eda (who provided texts and items from the museum), Alejandro Tantanian and the production team of the Museo de Arte Moderno de Buenos Aires.
<\/span>Playwright<\/b>: Rafael Spregelburd
<\/span>Music<\/b>: Zypce<\/span><\/p>

Performances:
<\/strong>Thursday 21 and Friday 22 August, at 7 p.m.
<\/span>Saturday 23 August, at 5 p.m. and 7 p.m.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Piel de Gambas <\/i>(Piel de Lava + Gambas al Ajillo)<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The sensational theatre group Piel de Lava \u2013 consisting of Elisa Carricajo, Valeria Correa, Pilar Gamboa and Laura Paredes \u2013 rewrites the unforgettable history in the 1980s underground scene of Las Gambas al Ajillo, a group of actresses who helped redefine Argentinian theatre and became prominent figures of the Buenos Aires scene. This new performance of Piel de Lava, designed specifically for the Moderno and in collaboration with the original members of Gambas al Ajillo (Ver\u00f3nica Llin\u00e1s, Alejandra Flechtner, Mar\u00eda Jos\u00e9 Gabin and Laura Market), accompanies the exhibition <\/span>Esto es Teatro: Once escenas experimentales del Di Tella al Parakultural [This Is Theatre: Eleven Experimental Scenes from the Di Tella to the Parakultural]<\/span><\/i>.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Acknowledgments<\/b>: Planta Incl\u00e1n, Juan Onofri Barbato, Lola de Ortuzar, Agust\u00edn Gagliardi, Nica Estudio, Betiana Temkin, Florencia Gomez Garc\u00eda
<\/span>Piel de Lava<\/b>: Elisa Carricajo, Valeria Correa, Pilar Gamboa and Laura Paredes
<\/span>Art<\/b>: Rodrigo Gonz\u00e1lez Garillo
<\/span>Video<\/b>: Original performance by Gambas al ajillo, recorded by In\u00e9s Duacastella
<\/span>Assistant<\/b>: Ianina Maglia<\/span><\/p>

Performances:<\/strong> Saturday 27 September, at 5 p.m. and 7 p.m.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Actriz. Moderno. Periferia. [Actress. Moderno. Periphery.]<\/i>\nMariana Obersztern \/ Agustina Mu\u00f1oz \n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Within the framework of the cycle Exposiciones en Cartel [Exhibitions on Display], which is part of the Public Programmes accompanying the Museo Moderno\u2019s 2025 programme <\/span>Esto es Teatro<\/span><\/i> [<\/span>This is Theatre<\/span><\/i>], artists Mariana Obersztern and Agustina Mu\u00f1oz present their performance piece <\/span>Actriz. Moderno. Periferia<\/span><\/i> [<\/span>Actress. Moderno. Periphery.<\/span><\/i>], creating a dialogue with the exhibitions presented throughout the year.\u00a0<\/span><\/p>

\u201cThe actress takes to the stage from a distant corner of the room. She enters, overwhelmed by the many emotions she seems to have bundled up within herself, waiting for the moment to arrive when she can finally unpack them. Everything she has kept inside gathers energy and, once unpacked, that is precisely what it releases: it returns to the air all that has been concentrated within, like chains of carbon. The actress bursts in like a whirlwind, with her arms flung into the air creating wild gesticulations that both throw her off balance and, at the same time, steady her. The circles that unfold around her \u2013 an atmospheric effect stirred by her passage through the space \u2013 now ground her and transport her, as if she were travelling within the smoke rings given off by a menthol cigarette. The ethereal nature of the rings, as white as they are opaque, perhaps indicate she is enveloped in a fantasy; but this is not the case, for the actress has her feet firmly on the ground.\u201d\u00a0<\/span><\/p>

Mariana Obersztern \/ Agustina Mu\u00f1oz<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Performers:<\/strong> Agustina Mu\u00f1oz, Mariana Obersztern
<\/span>Video:<\/strong> Ian Kornfeld
<\/span>Lighting:<\/strong> Gonzalo C\u00f3rdova
<\/span>Greenery:<\/strong> Marina Daiez
<\/span>Contributing actor:<\/strong> Hortensia Bruno
<\/span>Artistic assistance:<\/strong> Julia Perette
<\/span>Playwright:<\/strong> Mariana Obersztern<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Maricel \u00c1lvarez: Yo y este misterio, aqu\u00ed estamos (Peque\u00f1a Suite de m\u00ed misma)<\/i> [Maricel \u00c1lvarez: Me and This Mystery, Here We Are (A Little Suite of Myself]<\/i>\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Four dolls created in the image and likeness of Maricel \u00c1lvarez. Four characters she embodied recently in her theatrical performances, in the plays <\/span>Dolor Exquisito<\/span><\/i> [<\/span>Exquisite Pain<\/span><\/i>] (2008-2009), <\/span>H\u00e9cuba o el gineceo canino<\/span><\/i> [<\/span>Hecuba or the Canine Gynaeceum<\/span><\/i>] (2011-2012), <\/span>Orlando. Una ucron\u00eda disf\u00f3rica<\/span><\/i> [<\/span>Orlando: A Dysphoric History<\/span><\/i>] (2017) and <\/span>Medea Meditativa<\/span><\/i> [<\/span>Meditative Medea<\/span><\/i>] (2022). Four \u2018selves\u2019, displayed on stage together with the actress. Four poetics, four texts, four creative experiences, all revisited in a performance about her artistic practice and personal journey.<\/span><\/p>

The performance evokes texts by Sophie Calle, Emilio Garc\u00eda Wehbi, Walt Whitman, Ricardo Ibarluc\u00eda and Pascal Quignard.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Concept , performance and direction<\/b>: Maricel \u00c1lvarez
<\/span>Doll design and production<\/b>: Ayel\u00e9n Coccoz
<\/span>Dramaturgy and assistance<\/b>: Emanuel Fern\u00e1ndez
<\/span>Stage photography:<\/b> Nora Lezano
<\/span>Audiovisuals and lighting<\/b>: Mart\u00edn Antu\u00f1a
<\/span>Original music<\/b>: Fernando Kabusacki
<\/span>Artistic collaboration<\/b>: Mart\u00edn Flores C\u00e1rdenas
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Acknowledgements:<\/strong> Nicola Costantino, Teatro General San Mart\u00edn (CTBA) and Teatro Nacional Cervantes<\/span><\/p>

Performances:
<\/strong>Friday 5 December, at 5 p.m. and 7 p.m.
<\/span>Saturday 6 December, at 5 p.m. and 7 p.m.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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