{"id":58213,"date":"2026-04-09T17:49:38","date_gmt":"2026-04-09T20:49:38","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/el-borde-de-si-mismo-2\/"},"modified":"2026-06-11T12:30:06","modified_gmt":"2026-06-11T15:30:06","slug":"el-borde-de-si-mismo-2","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/el-borde-de-si-mismo-2\/","title":{"rendered":"The Edge of Itself"},"content":{"rendered":"\t\t
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FIFTH EDITION
<\/span>70 YEARS OF THE MODERNO \u2013 7 WEEKS OF \u201cEL BORDE DE S\u00cd MISMO\u201d [\u2018THE EDGE OF ITSELF\u2019]<\/span><\/p>

MANIFESTO<\/span><\/p>

1<\/span><\/p>

The poem stands fast at the edge of itself,
<\/span>it calls and brings itself, in order to persist,<\/span>
<\/span> incessantly, from its already-no-longer to its always-still.<\/span><\/p>

Paul Celan<\/span><\/i><\/p>

Paul Celan\u2019s essay \u2018The Meridian\u2019 [\u2018Der Meridian\u2019] was his 1960 acceptance speech for the Georg B\u00fcchner Prize. In the speech, he read B\u00fcchner\u2019s work not as something <\/span>separate<\/span><\/i> from his own, but rather as if it <\/span>were<\/span><\/i> his own. Celan, the poet \u2013 from the edge of himself \u2013 read B\u00fcchner, the playwright. His reflections on poetry broadened the horizon for today\u2019s readers (and for those who heard that speech, delivered on 22 October 1960 in the city of Darmstadt, Germany): we no longer speak of poetry, but of the poem. This way of naming things \u2013 this renaming of the form \u2013 allows us to go beyond poetry: the poem, thus, encompasses all forms of artistic expression.<\/span><\/p>

The aim of this cycle is to read another\u2019s poem as if it were one\u2019s own.<\/span><\/p>

2<\/span><\/p>

The visual arts, from the edge of themselves, read theatre; and theatre, from the edge of itself, reads art. From one\u2019s own self, within one\u2019s own limits, another territory can be perceived: one to be explored, examined and tested.\u00a0<\/span><\/p>

This cycle thus sets out to explore \u2013 from the edge of itself \u2013 territories that would appear to be unrelated: uncharted, unexplored spaces that can be perceived through personal experience.<\/span><\/p>

3<\/span><\/p>

Experience is a dim lamp, <\/span>which only lights the one who bears it.<\/span><\/p>

Louis-Ferdinand C\u00e9line<\/span><\/i><\/p>

Sharing the experience, the time, the process, the construction of a play: to imagine what has, as of yet, no form; to permit errors and encourage failures; and to co-exist with the audience in a space and time that is usually hidden from the public.\u00a0<\/span><\/p>

The audience\u2019s experience will, with luck, guide the development of the play.
<\/span>This cycle invites the audience to be part of it.\u00a0
<\/span>This cycle invites the artist to peer over the edge and look the audience in the eye.<\/span><\/p>

4<\/span><\/p>

Let time slow down, let go of the quest for results: surrender to the passage of time and to its scent.\u00a0
<\/span>Let the play find its own course, and let the audience be part of that course, shaping it, constructing a shared sense of time together with the play.
<\/span>Let shared experience hold sway.
<\/span>Imagine yourself as more than just ephemeral.
<\/span>Stop relying solely on yourself. Then, the play and the audience will find each other. And come together.\u00a0
<\/span>From the very edge of myself, I can sense there is something beyond me.\u00a0<\/span><\/p>

This cycle has inspired these words.<\/span><\/p>

5<\/span><\/p>

That in the hesitating interval, in the darkness,
<\/span>there will be something for us to hold on to.\u00a0<\/span><\/p>

Friedrich H\u00f6lderlin<\/span><\/i><\/p>

(\u2026)<\/span><\/p>

Alejandro Tantanian<\/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 and curator:<\/b> Alejandro Tantanian
<\/span>Participating artists:<\/b> Elba Bairon, Grupo BESA, Manuel Hermelo, Cervio Martini, \u00d3pera Perif\u00e9rica (Pablo Foladori & Gerardo Cardozo), Antonio Villa<\/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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FROM 11 JUNE TO 26 JULY
\nFROM JUNE 11 TO JULY 26 REGULAR SHOWS: FRIDAYS 7 PM ($7000) SATURDAYS AND SUNDAYS 4 PM AND 6 PM ($10000)<\/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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WEEK 1 - Thursday 11 Friday 12 June to Sunday 14 June 2026\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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Antonio Villa<\/b><\/span><\/p>

Cancionero [Songbook]<\/i><\/b><\/p>

Cancionero<\/span><\/i> [<\/span>Songbook<\/span><\/i>] is a solo recital that revisits the popular Latin American song repertoire of the 1970s. At the same time, it is an installation that combines instrument-making, live performance, sound processors and voices.\u00a0<\/span><\/p>

\u2018From the sordidness and paralysis of our own times, we return to singing the songs by those women who envisioned a future full of possibilities, and who turned politics into poetry. We are southerners: we see our mountain burning, we smell the smoke, we walk through the scorched forests. To that that will not return, we sing. We invoke its strength. We may be guilty of being melancholic or pessimistic; no matter, we are here and we believe it is the perfect time to gather together and sing\u2019,<\/span><\/p>

Performer:<\/b> Tom\u00e1s De\u00edas Spreng
<\/span>Offstage musician: <\/b>Nicol\u00e1s Gulluni
<\/span>Musical direction: <\/b>Nicol\u00e1s Gulluni
<\/span>Luthier:<\/b> Julio Calvo
<\/span>Lighting: <\/b>J\u00e9sica Montes de Oca
<\/span>Costumes: <\/b>Andrea Romero
<\/span>Director:<\/b> Antonio Villa
<\/span>Duration: 4<\/b>5 min<\/span><\/p>

Warning: <\/b>This work contains images that may be offensive to some viewers. Recommended for those aged 16 and over. Children must be accompanied by an adult. The work features strobe lighting and intense visual effects that may affect those who are sensitive to light.<\/span>
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Antonio Villa <\/b>(Esquel, 1988 \u2013 resides in Buenos Aires) is a visual artist, playwright and cultural manager. He graduated as a Playwright from the Escuela Metropolitana de Arte Dram\u00e1tico (EMAD) and took part in the Universidad Torcuato Di Tella\u2019s Artist\u2019s Programme as well as the Centro de Investigaciones Art\u00edsticas\u2019 Agent Programme (2018).
<\/span>He published a collection of poems titled <\/span>Teatra<\/span><\/i> (Buenos Aires: Desde un tacho, 2016), and the play <\/span>Paz<\/span><\/i> (Buenos Aires: Libros Drama, 2021). As a visual artist, he has participated in exhibitions at public institutions and in independent spaces. He received an Honourable Mention at the 9th Rozenmacher Prize for New Drama, the Best Play Award at arteBA 2019, the 2021 City of Buenos Aires Arts Week Award, and the Grand Acquisition Prize at the 100th National Salon of the Museo Rosa Galisteo (Santa Fe, 2023).
<\/span>In 2022, he made his debut as a playwright and director with <\/span>Chongo triste<\/span><\/i>, commissioned by the Teatro Nacional Cervantes. His play, <\/span>Paz<\/span><\/i>, is now showing, starring Laura Paredes. He is curator of the Gallinero collection, part of Rara Avis Editorial, and co-director of Constituci\u00f3n Galer\u00eda.<\/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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WEEK 2 - Friday 19 June to Sunday 21 June 2026\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Grupo BESA<\/b><\/span><\/p>

Primera palabra [First Word]<\/i><\/b><\/span><\/p>

\u2018<\/span>My mother talks about her mother and I feel as if she is talking about herself. My mother becomes beautiful, and that moment feels like a fourth dimension of life. My mother is my mother, and yet she is also someone else\u2019s mother; she is a thousand different mothers. My mothers dance, act, play, laugh, shine and tell stories. My mothers break new ground.\u2019<\/span><\/p>

Created by:<\/b> Grupo BESA
<\/span>Performers:<\/b> Marcela Gros, Magdalena Gros, Felipe Danani, Mariana Danani, Casandra Castro, Mirna Castro, Graciela Suen, Max Suen, Victoria Fern\u00e1ndez, Tomas Fern\u00e1ndez, Marcela Fern\u00e1ndez, Eva Hegui
<\/span>Sound design:<\/b> Magdalena Gros
<\/span>Lighting design: <\/b>Casandra Castro and Felipe Danani
<\/span>Set design:<\/b> Felipe Danani and Eva Hegui
<\/span>Director: <\/b>Tomas Fern\u00e1ndez
<\/span>Duration:<\/b> 75 min
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BESA<\/b> is a group dedicated to theatrical exploration. Since 2020, the group has been exploring the creation of works that bring together multidisciplinary approaches and aesthetic languages to build narratives that unfold, fold back on themselves, transform and move through various stages, from sound to visual art and performance.
<\/span>In 2022, the group debuted <\/span>Breve enciclopedia sobre la amistad<\/span><\/i> [<\/span>A Brief Encyclopaedia of Friendship<\/span><\/i>]. Since then, BESA has participated in many programmes and festivals throughout Argentina, Chile and Uruguay.
<\/span>The group staged its most recent work, <\/span>Parque Nacional<\/span><\/i> [<\/span>National Park<\/span><\/i>], in 2025. It is the culmination of a central theme in BESA\u2019s explorations: prioritising the process over the result, and the time spent in the search over the final product. The aim is to adopt an approach that fosters collaboration between all areas of the company \u2013 direction, playwriting and production, among others \u2013 and to promote a continuous creative flow that keeps its artistic essence alive.<\/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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WEEK 3 - Friday 26 June to Sunday 28 June 2026<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Manuel Hermelo<\/b><\/span><\/p>

Los p\u00e1rpados son pies que bailan con la luz <\/i><\/b>[<\/b>Eyelids Are Feet That Dance with the Light<\/i><\/b>]<\/b><\/span><\/p>

\u2018Memories of an amateur artist.<\/span>
<\/span>There are sketches beneath things.<\/span>
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<\/span>Mindless shadows repeat <\/span>
<\/span>nature\u2019s forms precisely.<\/span>
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<\/span>A drawing that no one saw.<\/span>
<\/span>A poem that no one heard.<\/span>
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<\/span>What do we know when we do not know?<\/span>
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<\/b>Performers:<\/b> Estela Fern\u00e1ndez Beret, Hoco Huoc and Manuel Hermelo<\/span>
<\/span>Lighting design:<\/b> Jorge Pastorino<\/span>
<\/span>Production and Stage Management: <\/b>Natalia Chami<\/span>
<\/span>Sound<\/b> Emma Dupuy<\/span>
<\/span>Video<\/b> Ari Nah\u00f3n<\/span>
<\/span>This work originated from <\/span>Yo y Ello<\/span><\/i> [<\/span>Me and It<\/span><\/i>], an exhibition of drawings curated by Karina Peisajovich and Bruno Dubner, and held at 13 Bazar Kiosco Taller.<\/span>
<\/span>Acknowledgements:<\/b> Teresa Arij\u00f3n, Alfredo Visciglio, Quique Calissano y Marcela Hermelo.<\/span>
<\/span>This is a collaborative project.<\/span>
<\/span>Concept and direction: <\/b>Manuel Hermelo<\/span>
<\/span>Duration:<\/b> between 35 and 40 mins\u00a0
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<\/span>Warning:<\/b> The work features strobe lighting and intense visual effects that may affect those who are sensitive to light.<\/span>
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Manuel Hermelo <\/b>is<\/span> an actor, director and sociologist. He co-founded and directed La Organizaci\u00f3n Negra, an influential collective in the experimental scene of the 1980s, producing works such as <\/span>Uorc<\/span><\/i>,<\/span> La tirolesa<\/span><\/i>,<\/span> Argumento <\/span><\/i>and <\/span>Almas examinadas<\/span><\/i>, which also staged in Brazil, Mexico, Germany, France and Denmark.
<\/span>Since then, he has developed a practice that bridges theatre, performance, writing and drawing, in individual and collective projects such as <\/span>La l\u00ednea hist\u00f3rica<\/span><\/i>,<\/span> Nifoleptos<\/span><\/i>,<\/span> El hueso del esp\u00edritu<\/span><\/i>,<\/span> La historia de T.<\/span><\/i> as well as in the publications of <\/span>Pato en la Cara. <\/span><\/i>He is the author of <\/span>El hombre tela<\/span><\/i>, a chronicle written during the pandemic. He recently presented <\/span>Yo y Ello<\/span><\/i>, an exhibition of drawings. La Organizaci\u00f3n Negra\u2019s work has been shown at the Museo Moderno and is currently part of an exhibition in Venice. His forthcoming book of poetry is titled <\/span>La tostada inteligente (TI).<\/span><\/i>\u00a0<\/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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WEEK 4 - Friday 3 to Sunday 5 July 2026\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Elba Bairon\u00a0<\/b><\/span><\/p>

S\/T<\/i><\/b><\/span>
<\/i>
En esta performance, una saxofonista interpreta diversos temas que acompa\u00f1an la acci\u00f3n de un bailar\u00edn, quien transita la sala realizando la postura vertical, acompasada por el tiempo de la respiraci\u00f3n.<\/p>

Int\u00e9rprete:<\/b>\u00a0Valent\u00edn Caringella
M\u00fasica:<\/b>\u00a0Mar\u00eda Luz Faura
Asistente de direcci\u00f3n:<\/b>\u00a0Carolina Castagnola
Direcci\u00f3n:<\/b>\u00a0Elba Bairon
Duraci\u00f3n:\u00a0<\/b>20 min\u00a0<\/p>

Suitable for all audiences<\/b>
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Elba Bairon<\/b> was born in 1947 in La Paz, Bolivia.
<\/span>She studied drawing at the Escuela de Bellas Artes de Montevideo and Chinese painting at the National Library. In 1970, she made a permanent move to Buenos Aires, where she studied engraving and lithography at Alfredo de Vicenzo\u2019s studio. At the same time, she began creating the scenery and costumes for the plays written by the playwright Emeterio Cerro. In 1996, she began to work in relief and with volume, as well as creating objects using paper pulp and plaster. Two years later, she was awarded a grant from the Fondo Nacional de las Artes, which allowed her to begin working on large scale plaster sculptures.
<\/span>She has also participated in numerous solo and group exhibitions.
<\/span>Over the course of her career, she has been awarded several prizes and honours, including the Grand Acquisition Award at the Sal\u00f3n Nacional de Buenos Aires in the category of New Media and Installations, and the Acquisitions First Prize and the Visual Arts Acquisition Prize at the 16th Federico Jorge Klemm Awards. In 2022, she received the Platinum Konex Award in the Sculpture category. She is currently creating architectural installations and sculptures in plaster and cast bronze.<\/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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WEEK 5 - Friday 10 to Sunday 12 July 2026\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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Cervio Martini<\/b><\/span><\/p>

Pimp y Nela [Pimp & Nela]<\/i><\/b><\/span>
<\/span><\/i>
<\/span>A quasi-musical, this nonsensical dialogue takes place on the last remaining iceberg.<\/span><\/p>

Screenplay \/ Director \/ Actor: <\/b>Cervio Martini
<\/span>Cast:<\/b> Flor Sanchez El\u00eda, Clara Esborraz
<\/span>Sound design: <\/b>Cervio Martini
<\/span>Lighting:<\/b> Gonzalo Berdes

<\/span>Warning: <\/b>This work contains images that may be offensive to some viewers. Recommended for those aged 16 and over. Children must be accompanied by an adult. The work features strobe lighting and intense visual effects that may affect those who are sensitive to light.<\/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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Cervio Martini<\/b> (Huinca Renanc\u00f3, C\u00f3rdoba, 1985) graduated with a diploma in Audiovisual Medi Production from the Universidad Nacional de C\u00f3rdoba in 2011. He participated in the 2017-2018 edition of the Universidad Torcuato Di Tella Artists’ Programme. In 2009, he began developing his artistic career with publications of his works in magazines. Since 2014, he has taken part in production workshops and practical training sessions with artists such as Eduardo Navarro, Carlos Huffman, Karina Peisajovich, Os\u00edas Yanov, Diego Bianchi, Mariela Scafati, Nicanor Araoz y Flavia da Rin, and more. His work has been shown in solo and group exhibitions at the Museo de Arte Moderno de Buenos Aires, UV Estudios, the Gachi Prieto Gallery, Buenos Aires Photo, the Big Sur Gallery, the Constituci\u00f3n Gallery, La F\u00e1brica and the Bienal de la Performance.<\/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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WEEK 6 - Friday 17 to Sunday 19 July 2026\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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\u00d3pera Perif\u00e9rica \/ Pablo Foladori & Gerardo Cardozo

<\/b><\/b>La isla<\/i><\/b><\/span>
<\/i><\/b>
<\/b>\u2018(\u2026) It would be better to put the show on here, I said to Fernanda before she left. Once I was alone, I explored the rooms of the cultural centre once again. I think there were two adjoining rooms. The place was empty, but I could hear a piano coming from one of the rooms nearby. I wanted to have a smoke, so I went out to the park. I walked down the tree-lined street again and, when I returned, the pianist had vanished. It rained. Among the bushes by the entrance, I thought I saw a frog. I opened my notebook and jotted down a brief note about what I\u2019d just seen. It took me years to rework it until it finally took shape. I think I wrote about a storm or about something that never stops falling, but something I could bring to life on the stage.\u2019<\/span><\/p>

Performers: <\/b>Mart\u00edn Aletta, Pablo Foladori, Rica, Mat\u00edas V\u00e9rtiz
<\/span>Art and costumes:<\/b> Marina de Caro
<\/span>Costumes:<\/b> Teresa Giarcovich
<\/span>Lighting:<\/b> Gonzalo Berdes
<\/span>Choreography: <\/b>Florencia Vecino
<\/span>Electroacoustic composition and live performance: <\/b>El Piyi
<\/span>Archlute:<\/b> Maxi Mas
<\/span>Symphonic gong:<\/b> Cecilia Simone
<\/span>Assistant: <\/b>Marl\u00f3n Ze
<\/span>Book:<\/b> Pablo Foladori
<\/span>Stage direction: <\/b>Gerardo Cardozo and Pablo Foladori
<\/span>Director:<\/b> Pablo Foladori
<\/span>Duration:<\/b> 30 min

<\/span>Warning: <\/b>This work contains images that may be offensive to some viewers. Recommended for those aged 16 and over. Children must be accompanied by an adult.\u00a0
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\u00d3pera Perif\u00e9rica<\/b> (Pablo Foladori & Gerardo Cardozo) produces theatrical and musical works devoid of the Eurocentric and class biases typically associated with the opera genre. They have delved into multidisciplinary investigations and work with new audiences as well as new technologies, communities and territories. Their works aim to prescribe new modes of production and to subvert the existing hierarchies of bodies and materialities. These debates have given rise to unexpected dialogues and collaborations between different artistic practices.<\/span><\/p>

Pablo Foladori (Buenos Aires, 1976) works in the fields of writing, the performing arts, music, cultural management and teaching. He is the director of the \u00d3pera Perif\u00e9rica, which he founded in 2015 and through which he develops projects in collaboration with different communities, exploring new technologies and the specific relationships with their fields of work. He studied Literature at the Universidad de Buenos Aires, holds a Bachelor\u2019s degree in Music from the Universidad Cat\u00f3lica Argentina and studied Opera Stage Direction at the Teatro Col\u00f3n. He was awarded the Fondo Nacional de las Artes Creation Grant in 2016, 2021 and 2022. He was awarded a scholarship to take part in the Winter School \/ New Opera in Latin America in New York, and was invited to participate in writing the <\/span>Diccionario Ut\u00f3pico de Teatros<\/span><\/i>, edited by Alejandro Tantanian, Oria Puppo and Andr\u00e9s Gallina. He has developed more than 50 projects with the Fundaci\u00f3n \u00d3pera Perif\u00e9rica. In 2025, he debuted his work <\/span>Dido y Eneas. Una \u00f3pera de emergencia<\/span><\/i>. His works have been staged at Proa 21, the Centro de Experimentaci\u00f3n of the Teatro Col\u00f3n, the Teatro Argentino de La Plata, the Complejo Teatral in Buenos Aires, Para\u00edso Club and the Centro Cultural Haroldo Conti, as well as other spaces in the City of Buenos Aires.<\/span><\/p>

Gerardo Cardozo (Buenos Aires, 1980) is an actor, dancer and drama teacher. He graduated from EMAD and also works as a director and researcher. He holds a Master\u2019s degree in Theatre and Performing Arts from UNA. He joined \u00d3pera Perif\u00e9rica in 2019.<\/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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Week 7 - Thuesday 23 to sunday 26 july 2026\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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\u00d3pera Perif\u00e9rica \/ Pablo Foladori & Gerardo Cardozo –<\/b> La isla<\/i><\/b>
<\/span>Thursday 23 July, 7 pm<\/span>
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\u00a0Cervio Martini – <\/b>Pimp y Nela<\/i><\/b>
Friday 24 July, 7 pm<\/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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Manuel Hermelo – <\/b>Los p\u00e1rpados son pies que bailan con la luz<\/i><\/b>
<\/span><\/i>Saturday 25 July, 4 pm<\/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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Grupo BESA – <\/b>Primera palabra<\/i><\/b>
<\/span><\/i>Saturday 25 July, 6 pm<\/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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Elba Bairon –<\/b> S\/T<\/i><\/b>
<\/i><\/b>Sunday 26 July, 4 pm<\/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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Beto Antonio Villa – <\/b>Cancionero<\/i><\/b>
<\/span>Sunday 26 July, 6 pm<\/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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Location:<\/b> Second Floor (Gallery H)<\/p>\n","protected":false},"featured_media":59764,"template":"","class_list":["post-58213","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/58213","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":14,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/58213\/revisions"}],"predecessor-version":[{"id":59559,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/exposiciones\/58213\/revisions\/59559"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media\/59764"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=58213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}