{"id":29883,"date":"2022-11-24T12:43:34","date_gmt":"2022-11-24T15:43:34","guid":{"rendered":"https:\/\/museomoderno.org\/programas-publicos\/"},"modified":"2025-12-23T13:04:07","modified_gmt":"2025-12-23T16:04:07","slug":"programas-publicos","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/programas-publicos\/","title":{"rendered":"Public Programmes"},"content":{"rendered":"\t\t
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PUBLIC PROGRAMMES<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Through sound performances, lectures, conferences and concerts by renowned artists, this programme seeks to explore and expand the content of the exhibitions on display at the museum.<\/p>

These activities, curated by author, journalist and cultural critic Fernando Garc\u00eda, involve different disciplines and scenes from the museum\u00b4s identity and its programming, bringing out the echoes from the exhibited works and those of the invited artists who, together with the public, dare to accept the challenge of experimentation and the desire to push the limits.<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2025<\/h2>\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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Daniel Basso: Estoy enamorado de un chalet [Daniel Basso: I\u2019m in Love with a Chalet]<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Monday 15 December, artist Daniel Basso (1974), from Mar del Plata, presented an audiovisual lecture titled <\/span>Estoy enamorado de un chalet [I\u2019m in Love with a Cottage]<\/span><\/i> He was accompanied by Franco Chimento \u2013 curator of Design at the Museo de Arte Moderno and of the exhibition <\/span>Terciopelo Club<\/span><\/i> [<\/span>Club Velvet<\/span><\/i>] \u2013 and Fernando Garc\u00eda, curator of Public Programmes. In just over an hour, the audience in the auditorium was struck by the 445 images that Basso flashed through as he told the story of the aesthetic journey behind the installation <\/span>Terciopelo Club<\/span><\/i>, his first exhibition at the Modern. With his ability to draw connections between suburban pastries, the eclecticism of the cottages of Mar del Plata and automotive design, Basso revealed just how far the sensory perceptions of his childhood and adolescence have permeated this work that defies all categorisations. The lecture marked the close of the 2025 season of Public Programmes at the Museo de Arte Moderno.

Ph:<\/strong> Rodrigo Mendoza\u00a0\u00a0\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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Maricel \u00c1lvarez: Yo y este misterio, aqu\u00ed estamos (Peque\u00f1a suite de m\u00ed misma) [Maricel \u00c1lvarez: Me and This Mystery, Here We Are (A Little Suite of Myself)]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Friday 5 and Saturday 6 December, actress Maricel \u00c1lvarez premiered her work <\/span>Y este misterio, aqu\u00ed estamos (Peque\u00f1a suite de m\u00ed misma)<\/span><\/i> [<\/span>Maricel \u00c1lvarez: Me and This Mystery, Here We Are (A Little Suite of Myself)<\/span><\/i>] at the Moderno.<\/span> In this combination of a live retrospective and performative lecture, Maricel replicated herself as the characters of Medea, Orlando and others that she has portrayed throughout her career. The incredible replicas were created by Ayel\u00e9n Coccoz, one of the participating artists in the <\/span>Tramoya <\/span><\/i>exhibition<\/span>.<\/span><\/i> Accompanied by original music composed by Fernando Kabusacki, the actress mirrored herself in the video recordings of the original plays. She was even able to recover \u2013 from a WhatsApp message recorded in 2020 \u2013 the moving a cappella performance of Caetano Veloso\u2019s \u2018Algu\u00e9m cantando\u2019 [\u2018Someone Singing\u2019], sung by Gabo Ferro. Maricel brought this cycle to a close, having presented four moving performances that will continue to be talked about well into the future.\u00a0\u00a0\u00a0<\/span><\/p>

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

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Emilio Garc\u00eda Wehbi: Dimensi\u00f3n desconocida [Emilio Garc\u00eda Wehbi: Unknown Dimension]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Wednesday 5 November, Emilio Garc\u00eda Wehbi visited the exhibition <\/span>M\u00e1quina Teatro<\/span><\/i> [<\/span>Theatre Machine<\/span><\/i>]. Garc\u00eda Wehbi is one of the founders of the group El Perif\u00e9rico de Objetos, which burst onto the scene in 1990 at the Centro Parakultural, gaining international recognition before dissolving around 2008. The packed audience filled the dimly lit room as the artist gave a detailed account of each of the works the group had performed, from <\/span>Ub\u00fa Rey<\/span><\/i> [<\/span>Ubu the King<\/span><\/i>] (1990) to <\/span>Manifiesto de ni\u00f1os<\/span><\/i> [<\/span>Children\u2019s Manifesto<\/span><\/i>] (2005). Over the course of the evening, the playwright and puppeteer manipulated and brought to life the objects and dolls that were included in each of the performances. At the same time, he spoke about the audience\u2019s reactions to each of the shows, which in some cases included latent or overt violence. One high point of <\/span>Dimensi\u00f3n desconocida<\/span><\/i> was his discussion of the \u201cbasurero perif\u00e9rico\u201d [\u2018peripheral rubbish tip\u2019], the space where the group stored the materials they had found in the street for future stage performances.\u00a0

<\/span>Ph:<\/strong> Juli\u00e1n Bongiovanni<\/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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Mariana Obersztern & Agustina Mu\u00f1oz: Actriz.Moderno.Periferia [Mariana Obersztern & Agustina Mu\u00f1oz: Actress.Moderno.Periphery.]<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday 23 and Friday 24 October, the first showings of <\/span>Actriz.Moderno.Periferia<\/span><\/i> [<\/span>Actress.Moderno.Periphery.<\/span><\/i>], a new work by playwright Mariana Obersztern and actress and performer Agustina Mu\u00f1oz commissioned by the Public Programmes department for the cycle Exposiciones en cartel [Exhibitions On Display], took place in the museum\u2019s auditorium.\u00a0<\/span><\/p>

From behind a desk, Obersztern gave voice to the script as if controlling Mu\u00f1oz’s movements, who performed on the physical stage while her image also appeared in a video. With its minimalist lighting design, the piece exposed its theatrical mechanisms at the same time that it created a dreamlike atmosphere, underscored by its use of the pop song \u2018Lychee\u2019 by Swedish musician Jay-Jay Johnson. The performance contained one other surprise: the brief appearance of thirteen-year-old actress Hortensia Bruno, who, for a moment, disrupted the internal logic of the script.

Ph:<\/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

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Piel de Lava: Piel de Gambas\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday, 27 September, the theatre group Piel de Lava took the Moderno auditorium by storm with a show that sold out months in advance. To accompany the exhibition <\/span>This Is Theatre: Eleven Experimental Scenes from the Di Tella to the Parakultural<\/span><\/i>, this piece \u2013 commissioned by the Museo Moderno \u2013 saw actresses Pilar Gamboa, Elisa Carricajo, Laura Paredes and Valeria Correa reconstruct the history of Gambas al Ajillo: the queens of the underground scene that revolved around the Centro Parakultural.\u00a0<\/span><\/p>

While Ver\u00f3nica Llin\u00e1s, Alejandra Flechner, Mar\u00eda Jos\u00e9 Gabin and Laura Markert recounted their adventures in the underground scene in videos projected on the screen behind them, Piel de Lava brought the story to life on the stage. Though it is chronologically impossible for Piel de Lava to have seen Las Gambas live and in person, the creators of <\/span>Petroleum<\/span><\/i>, <\/span>Parliament<\/span><\/i>, and other works brought back the 1980s underground scene in two performances that were an all-out party. The image of the eight actresses, locked in an embrace and jumping with joy, will remain an indelible memory of the encounter. In a gesture that harkened even further back to the roots of Argentinian comedy, the shows closed with a projection of the brilliant Nin\u00ed Marshall singing \u2018Little White Dove\u2019 in a radio studio.\u00a0\u00a0

Ph:<\/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

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International Symposium Teatrismo<\/i>: Radicalism in Contemporary Art and Theatre in the Face of the Crisis of Democracies<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On 2, 3 and 4 October, the Museo Moderno hosted the International Symposium <\/span>Teatrismo<\/span><\/i>. It was a space for debate and reflection within the framework of this year\u2019s annual programme, dedicated to the links between contemporary art and theatre during its most radical expressions in Argentina: from 1965 and the underground scene to the 1990s. <\/span>Teatrismo<\/span><\/i> was organised in collaboration with the Crikoteca and the Adam Miskiewitz Institute, both based in Poland, since one of its aims was to highlight the influence of Tadeusz Kantor on the Buenos Aires theatre scene of the 1980s.\u00a0\u00a0<\/span><\/p>

The symposium was opened by Victoria Noorthoorn, director of the Moderno, and continued with a conversation between Alejandro Tantani\u00e1n, theatre curator at the Moderno, and playwrights Federico Le\u00f3n and Brai Kobla. Norman Briski graced us with his presence, bringing a touch of the aura of the Di Tella to <\/span>Teatrismo<\/span><\/i>, along with his experience with V\u00edctor Garc\u00eda, an exceptional Argentine director who featured in the Moderno\u2019s exhibition, <\/span>This is Theatre<\/span><\/i>. Highlights from the second day of the event included presentations by Polish specialists Ma\u0142gorzata Paluch-Cybulska, Jaros\u0142aw Lubiak and Ma\u0142gorzata Ludwisiak. Alejandro Cruz also hosted an interview with Emilio Garc\u00eda Wehbi and Ana Alvarado, members of El Perif\u00e9rico de Objetos. There were screenings of a selection of documentaries about Tadeusz Kantor over the course of the three days, along with a special feature of Susanne Kennedy’s play <\/span>Angela<\/span><\/i>.

Ph:<\/strong> Jorge Vidal y Juli\u00e1n Bongiovanni<\/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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Valentina Quintero: Monumental \n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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To mark the close of her exhibition <\/span>Valentina Quintero: A Day in the Life<\/span><\/i>, on Monday, October 6, at an event that took place in the auditorium of the Moderno, painter Valentina Quintero discussed the constellation of influences that appear in her works, in conversation with Ra\u00fal Flores, curator of the exhibition, and Fernando Garc\u00eda, curator of Public Programmes.\u00a0<\/span><\/p>

From classical painting models to comics, avant-garde fashion designers to pop stars, Valentina revealed the hidden references that expand our insights into her work, offering a contemporary and queer version of artists such as Alfredo Guttero and Ricardo Carpani. In discussing each of the images, the artist \u2013 from Mendoza \u2013 made a compelling argument for how and why she paints in the 2020s, based on the construction of an aesthetic that could be considered a generational statement.\u00a0\u00a0

Ph:<\/strong> Juli\u00e1n Bongiovanni
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Speed View: Coccoz-G\u00f3mez-Tschopp-Villa\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday, 9 October, the participating artists from the exhibition <\/span>Stagecraft<\/span><\/i> staged an event in which they performed and guided the audience through their colleagues\u2019 works. Leila Tschopp began with a discussion of the work of Ver\u00f3nica G\u00f3mez, which occupies one of the walls of the museum\u2019s second subbasement gallery. Tschopp read a selection of quotes and contributed her own thoughts on the works.\u00a0<\/span><\/p>

This was followed by Ayel\u00e9n Coccoz and Antonio Villa, who took to the centre of the auditorium, in an act that bordered on the theatrical. Somewhat in the style of an old television show, the two artists exchanged roles, responded to a questionnaire, and even showed off attributes and objects from their childhoods. To close, standing before Tschopp\u2019s mural, Ver\u00f3nica G\u00f3mez spoke as if reading a letter, shedding light on her friend’s aesthetic, whom she embraced at the end of this unusual journey.

Ph:<\/strong> Guido Limardo
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Plautus (a memoir): Eduardo Stup\u00eda\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday 16 October, painter Eduardo Stup\u00eda and actress Noem\u00ed Morelli presented <\/span>El Plauto<\/span><\/i> [<\/span>Plautus<\/span><\/i>] in the auditorium of the Moderno. It was a reconstruction of the staging by Roberto Villanueva, which premiered at the Estrellas theatre in 1977. Stup\u00eda, who joined the cast as a percussionist and chorus member, revisited the programme and recalled the characters, songs and acts that made up this unique piece, which lasted up to four hours. \u201cThey called for an encore as if it were a rock concert, but we didn\u2019t have an encore!\u2019 said Morelli, describing the phenomenon created by this version of the text by Spanish author Carlos Tr\u00edas. The event, organised by Public Programmes, restored this lost link between the Di Tella\u2019s CEA (Centre for Audiovisual Experimentation) and the underground scene, providing an accompaniment to the experimental theatre scenes featured in the exhibition <\/span>Esto es Teatro<\/span><\/i> [<\/span>This is Theatre<\/span><\/i>].\u00a0

Ph:<\/strong> Juli\u00e1n Bongiovanni
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Spregelburd & Zypce: Nada m\u00e1s viejo [Nothing Older]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday 21, Friday 22 and Saturday 23, as part of the Third Edition of the Exposiciones en cartel [Exhibitions on Display] cycle, the museum hosted the premiere of the opera <\/span>Nada m\u00e1s viejo<\/span><\/i> [<\/span>Nothing Older<\/span><\/i>], written by the actor and playwright Rafael Spregelburd, with original music and sound design by Zypce. The theatrical experience, which was performed to a full house in the auditorium on all three nights, tells of the legendary foundation of the Museo Moderno. In it, Spregelburd & Zypce portray two folklorists in charge of an evening to celebrate the hundredth anniversary of Rafael Squirru’s birth. For the second act, the audience is taken to the <\/span>Yapey\u00fa<\/span><\/i>, the ship that sailed the world, touring the 53 works that made up the exhibition<\/span> Muestra flotante de 50 artistas argentinos<\/span><\/i> [<\/span>Floating Exhibition of 50 Argentinian Artists<\/span><\/i>]. Spregelburd played the role of the captain and Zypce took on that of a ship\u2019s officer, in this play that puts a fictional twist on the real adventure that led to the founding of the museum, while revisiting the rupture brought about by modern art in the 20th century. The video screen showed the only photos of the ship with the works chosen by Squirru and recorded in the logbook of the voyage that was written by Teresa Baratta, one of the ship\u2019s stewardesses.

Ph:<\/strong> Juli\u00e1n Bongiovanni\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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Cristina Banegas: Molly Bloom<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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At the Moderno auditorium on Thursday 7 and Friday 8 August, actress Cristina Banegas staged her one-woman show <\/span>Molly Bloom<\/span><\/i>, based on the last chapter of James Joyce\u2019s <\/span>Ulysses<\/span><\/i>, the novel that set the tone for 20th century literature. Barefoot and standing over a backdrop painted by artist Juan Jos\u00e9 Cambre, Banegas threw her body into an avalanche of words that shook spectators with her observations about sex and power in a universal and contemporary Dublin. The two performances were part of the Exposiciones en cartel [Exhibitions on Display] cycle, created by the Public Programmes Department to accompany the <\/span>Esto es Teatro<\/span><\/i> [<\/span>This is Theatre<\/span><\/i>] and <\/span>M\u00e1quina Teatro<\/span><\/i> [<\/span>Theatre Machine<\/span><\/i>] exhibitions. At the end of her performance, the actress, who is renowned for her social commitment, urged the audience to speak out in defence of cultural institutions and underfunded and disadvantaged social sectors.\u00a0\u00a0\u00a0<\/span><\/p>

Ph:<\/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

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Jorge Mi\u00f1o: El vientre del artista [The Belly of the Artist]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday 24 May, artist Jorge Mi\u00f1o presented <\/span>El vientre del artista <\/span><\/i>\u00a0[<\/span>The Belly of the Artist<\/span><\/i>], an audiovisual lecture combined with a public interview, with the participation of Fernando Garc\u00eda, curator of Public Programmes of the Museo de Arte Moderno de Buenos Aires. Speaking in front of a packed auditorium, Mi\u00f1o explained everything that led to the development of <\/span>La cuarta pared<\/span><\/i> [<\/span>The Fourth Wall<\/span><\/i>], his first solo exhibition at the Moderno, curated by Ra\u00fal Flores. Mi\u00f1o recalled how a delayed flight at London\u2019s Heathrow Airport triggered what would become his iconographic obsession: staircases. Working with architecture and photography, the artist found his own aesthetic style, which he polishes up in each work when finishing it in his digital post-production lab. Images of his series of works executed since 2011 were projected over the course of the interview, juxtaposed with 20th century avant-garde works such as Marcel Duchamp\u2019s <\/span>Nude Descending a Staircase<\/span><\/i> and Kazimir Malevich\u2019s <\/span>White on White<\/span><\/i>.\u00a0\u00a0<\/span><\/p>

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Lolo y Lauti: El Gusanito [The Little Worm]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\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>

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Uncertain Pinacotheca: Mart\u00edn Leg\u00f3n & Jorge Macchi, with Graciela Speranza\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday 20 February, this joint presentation was held to mark the closing of Mart\u00edn Leg\u00f3n\u2019s exhibition <\/span>Solo las piedras recuerdan<\/span><\/i> [<\/span>Only the Stones Recall<\/span><\/i>], curated by Francisco Lemus. In the show, the artist presented his own exploration of the application of artificial intelligence in contemporary visual culture. Inspired by the works in the exhibition, Leg\u00f3n and Jorge Macchi \u2013 who held his own highly memorable exhibition, <\/span>Container<\/span><\/i>, at the Museo Moderno in 2013 \u2013 presented <\/span>Pinacoteca Incierta<\/span><\/i> [<\/span>Uncertain Pinacotheca<\/span><\/i>], a selection of images chosen by the pair. At the close of the encounter, renowned essayist Graciela Speranza delivered a keynote presentation that drew on the works of Leg\u00f3n and other international artists to pose thought-provoking questions about the future. Quoting the German philosopher Martin Heidegger, Speranza urged us to maintain our \u2018serenity\u2019 in the face of the duplication of life brought about by digital technology.\u00a0

Ph:<\/strong> Juli\u00e1n Bongiovanni\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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2024<\/h2>\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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Melod\u00edas animadas: Isol Misenta [Lively melodies: Isol Misenta]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday, 12 December, the renowned illustrator and author Isol Misenta closed our 2024 Public Programmes cycle with a show highlighting one of her lesser known talents: as a soloist singer with a treasured repertoire that is only very occasionally performed live. Appearing as part of a trio alongside Nicol\u00e1s Cecinini (keyboards and live sound processing) and Juli\u00e1n Horita (electric guitar), Isol gave an incredibly moving performance in which her voice ranged from barely a whisper to a shout. The artist\u2019s playlist was inspired by two exhibitions that captured her interest: <\/span>El aprendizaje infinito<\/span><\/i> [<\/span>Infinite Learning<\/span><\/i>] and <\/span>Dibujar es crear mundos<\/span><\/i> [<\/span>Drawing to Create Worlds<\/span><\/i>]. Throughout the one-hour show Guadalupe Mar\u00edn completed the concept of Isol with her overhead projector, superimposing transparencies to bring a collage to life in real time. She included images from her own archive as well as of some of the works from the aforementioned exhibitions. Isol has said that Mar\u00edn\u2019s light show is \u2018magical\u2019, and make no mistake, everything was indeed truly magical.\u00a0\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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Voley: Una tarde desplegable [Voley: An Afternoon Unfolding]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday, 7 December, the improv group Voley held a four-hour jam in the central room of the Celina Eceiza exhibition, <\/span>Ofrenda<\/span><\/i> [<\/span>Offerings<\/span><\/i>]. The Mar del Plata-based group, which consists of the musicians Mariano Ull\u00faa, Mariana Pellejero, Nahuel Ag\u00fcero and the artist Ernesto Ballesteros, created a hypnotic atmosphere and an extraordinary ambient soundscape with Eceiza\u2019s soft architectural forms as a backdrop. Combining electronic bases with the bass, classic guitar, keyboards and effects and Ballesteros’ enigmatic vocalisations, they put the room into a trance. The audience relaxed, reclining on the soft pieces scattered around <\/span>Ofrenda<\/span><\/i>, allowing the comforting music to take them on a journey that intersected the psychedelic roots of Eceiza’s aesthetic with Voley\u2019s freeform performance.\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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Latido: Centenario de Mar\u00eda Juana Heras Velasco [Heartbeat: The Centenary of Mar\u00eda Juana Heras Velasco]<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday, 5 December, our programme of activities in celebration of the 100th anniversary of the birth of the sculptor Mar\u00eda Juana Heras Velasco came to a close in the museum auditorium. The event was a meeting of poetry and sculpture: the triptych <\/span>Homenaje a Allen Ginsberg <\/span><\/i>\u00a0[<\/span>Tribute to Allen Ginsberg<\/span><\/i>] (1977) was on display at the event, while a projection of the letter the Argentine artist wrote to the American beat poet about how inspiring she found his poem \u2018To An Old Poet in Peru\u2019 (1960).A recording of Ginsberg reciting the line \u2019My rock and roll is the movement of an angel flying in the modern city\u2018,\u00a0 opened this Public Programmes event in which poetry and sculpture intersected. Fernando Garc\u00eda gave a brief introduction discussing Ginsberg\u2019s popularity in Buenos Aires in the 1970s, while Mar\u00eda Jos\u00e9 Herrera contextualised the work of Heras Velasco within the Argentine Concrete tradition. Victoria Lopresto presented the work, which was produced by the Heras Velasco Archive Workshop and Fernanda Heras \u2013 the sculptor\u2019s niece and director of the archive \u2013 and analysed the synthesis and abstraction of angel iconography from the pre-Renaissance through to modern times, as seen in Heras Velasco\u2019s work.<\/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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The role of sound: Alan Courtis\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On 29 November, Alan Courtis \u2013 sound artist and member of the group Reynols \u2013 unveiled his sound installation to accompany Sof\u00eda Bohtlingk\u2019s exhibition <\/span>El ritmo es el mejor orden<\/span><\/i> [<\/span>Rhythm is the best order<\/span><\/i>]. Titled <\/span>El papel del sonido<\/span><\/i> [<\/span>The role of sound<\/span><\/i>], the work is created using electronic sounds produced by different oscillators, emphasising the frequencies around 60 Hz. These are played over speakers that are positioned behind two abstract drawings by Bohtlingk, selected by Alan Courtis. The two works by the artist \u2013 one of which is not on display in the museum \u2013 vibrate in response to alterations in the frequencies, which are amplified with a delay to produce a strange auditory effect in the room, turning Bohtlingk\u2019s drawings into percussion pieces. This experience took place on Thursday 5 and 12 of December. <\/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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Onome Ekeh: Afrofuturismo [Onome Ekeh: Afrofuturism]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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As Onome Ekeh\u2019s <\/span>Especulaciones<\/span><\/i> [<\/span>Speculations<\/span><\/i>] came to a close, the artist was interviewed in the museum auditorium by cultural journalist and international analyst Hinde Pomeraniec. With images of the works included in the show projected in the background, the conversation \u2013 with simultaneous interpretation provided by Marita Propato \u2013 shed light on Ekeh\u2019s artistic origins in Nigeria as well as the references to the culture and history of the country that can be seen in the digital works and videos on display at the Moderno. Ekeh spoke about the pigeonholing of African-American artists and writers and described how technology has provided an opportunity to reimagine the past of a continent that was devastated by colonisation and extractavism. Far from rejecting AI, Ekeh made a statement that is a pure sign of the times: \u201cThe problem does not lie in the technology, but in the culture we live in\u201d. The artist, whose work was on show for the first time in Argentina, took a bow to the thunderous applause of the full house.<\/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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El cuerpo del incidente: Alina Marinelli [The Body of the Incident: Alina Marinelli]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday, 26 October, choreographer and dancer Alina Marinelli gave an astonishing performance that followed the instructions contained in the work <\/span>Incidente<\/span><\/i> [<\/span>Incident<\/span><\/i>], a highlight of Salta artist Javier Soria V\u00e1zquez\u2019s exhibition<\/span> El acto imprevisto<\/span><\/i> [<\/span>The Unforeseen Act<\/span><\/i>]. His monochrome triptych with three lines that represent the musical notes A, D and F, is only \u2018complete\u2019 when viewers follow the lines with their fingers along the canvas and, in response, three violinists play the notes indicated, with an intensity that reflects the gestures of the viewers. From the time the exhibition opened, this scene repeated every Saturday between 5:00 pm and 6:00 pm to the great enthusiasm of both the audience and the musicians. To mark the closing of the show, the Public Programmes department asked Marinelli to expand Soria V\u00e1zquez\u2019s original idea. With the help of a white ribbon, Marinelli extended the white line of the triptych, attaching it to different parts of her body and turning it into the score for the piece. The audience at the museum was captivated by her presence and ability to create geometric shapes with her body. While interpreting the movements of the extended lines, the violins produced surprising combinations of notes, and incorporated intense ascending and descending glissandos into each tone to reflect the choreography. It was a new, unexpected way to experience painting, music and dance.\u00a0\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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Con ritmo visual: Laura Isola [Visually Rhythmic: Laura Isola]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Thursday, 10 October, critic Laura Isola gave a tour of Alberto Passolini’s mural <\/span>So\u00f1ar a borbotones<\/span><\/i> [<\/span>Dreaming in Spurts<\/span><\/i>], which extends from the entrance hall of the Moderno to the second basement, as part of the exhibition <\/span>Dibujar es crear mundos<\/span><\/i> [<\/span>Drawing to Create Worlds<\/span><\/i>]. Isola revisited the connections between revolutionary muralism and the concept of splatter art, which\u00a0 reinvented modern art in the 1950s with abstract expressionism. With Passolini and Ra\u00fal Flores \u2013 curator of the mural and the group exhibition \u2013 in attendance, Isola began the tour with a general introduction to the work, pausing for a moment on the stairs and finishing up next to the museum library and in front of Passolini’s small-format drawings, also part of the exhibition, providing the audience with the tools to interpret the voluptuous and playful iconography of his work.<\/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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Desenmascarados: Tom\u00e1s Espina [Unmasked: Tom\u00e1s Espina]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday 5 October, artist Tom\u00e1s Espina opened the doors to <\/span>Un Museo Popular de Arte Argentino<\/span><\/i> [<\/span>People\u2019s Museum of Argentine Art<\/span><\/i>], an alternative collection shown as part of the exhibition <\/span>El Aprendizaje Infinito<\/span><\/i> [<\/span>Infinite Learning<\/span><\/i>]. Espina carried out a detailed analysis of the different sectors of this particular museum on display at the Moderno for a courteous audience that was amazed by the strategies of the artist. He pointed out the engravings that depict key moments in the history of Argentine art, the series of masks that refer to the scenes, and the 31 paintings from throughout the country that are dedicated to the dinner paid for by Federico Manuel Peralta Ramos with the money he received from the Guggenheim scholarship. The guided tour by the artist, who is also the collector and curator of this unique museum, led to a discussion about the role of the author in popular visual culture.<\/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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Asterisca: Lucas Di Pascuale [Asterisk: Lucas Di Pascuale]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Saturday, 28 September at the <\/span>El aprendizaje infinito<\/span><\/i> [<\/span>Infinite Learning<\/span><\/i>] exhibition, C\u00f3rdoba artist Lucas Di Pascuale presented his book <\/span>Asterisca<\/span><\/i> [<\/span>Asterisk<\/span><\/i>], a publication that compiles his reflections as a drawing teacher. With banners displaying some of the images and postulates of his book, Di Pascuale shed light on the contemporary characteristics of drawing. Positioning himself at the centre of a packed circle of visitors in the intimate Hall B, the artist was warmly received by an audience eager to hear his thoughts, as reflected in the almost forty works by Di Pascuale that make up this exhibition curated by Jimena Ferreiro and Alfredo Aracil.<\/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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En busca del trazo perdido: Eduardo Stup\u00eda [In Search of the Lost Line: Eduardo Stup\u00eda]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Wednesday, 11 September, artist and teacher Eduardo Stup\u00eda, a revered figure in the Argentine drawing scene, delivered a lecture, \u201cEn busca del trazo perdido\u201d [\u2018In Search of the Lost Line\u2019], to a full house at the Moderno\u2019s auditorium. Over the course of almost two hours, Stup\u00eda used approximately two hundred images to reflect on what drives us to use drawing to communicate before we even have any artistic experience. Perhaps, Stup\u00eda argued, \u2018the ultimate fulfilment of an artist lies in rediscovering that lost line\u2019. Picasso, Rembrandt, Minuj\u00edn, Le\u00f3n Ferrari, Paul Klee and other artists provided case studies for his lecture. At the event, organised by the Public Programmes department, Stup\u00eda also drew relationships between the Moderno\u2019s exhibitions, <\/span>El aprendizaje infinito<\/span><\/i> [<\/span>Infinite Learning<\/span><\/i>] and <\/span>Dibujar es crear mundos<\/span><\/i> [<\/span>Drawing to Create Worlds<\/span><\/i>].<\/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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Timbre: Cecilia Biagini y Federico Orio [Timbre: Cecilia Biagini and Federico Orio]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Friday, 16 August, the duo Cecilia Biagini (violin) and Federico Orio (percussion and <\/span>bombo leg\u00fcero<\/span><\/i>) presented a performance of <\/span>Timbre<\/span><\/i>, the title of their only album, recorded in Brooklyn and Mar del Plata and dedicated to the memory of Rosario Bl\u00e9fari. Full of spontaneity, the set saw Biagini, who is also a visual artist, abandon her violin to follow the different beats Orio played on his drums with the actions of her bow and her body. Sat in a circle, the audience was mesmerised as Biagini and Orio \u2013 who performed for a little over forty minutes \u2013 moved and weaved through the audience, ignoring the boundaries of the stage. As they performed their abstract music in the auditorium, images of the ballerina Ana Kamien \u2013 taken from a short 1970 film that is considered to be a pioneering work of dance video \u2013 were projected on the screen behind them.\u00a0Only seven copies of <\/span>Timbre<\/span><\/i> were produced, some of which are held in private art collections.<\/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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\u00a1Splash!: Alberto Passolini [Splash! Alberto Passolini]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In celebration of Alberto Passolini\u2019s mural painting at the museum <\/span>So\u00f1ar a borbotones<\/span><\/i> [<\/span>Dreaming in Spurts<\/span><\/i>], on Saturday 10 August, Curator of Public Programmes Fernando Garc\u00eda interviewed the artist in the Moderno auditorium, alongside Ra\u00fal Flores, curator of the exhibition <\/span>Dibujar es crear mundos<\/span><\/i> [<\/span>Drawing to Create Worlds<\/span><\/i>]. The mural stretches from the museum hall all the way to the entrance to the exhibition. It features imagery of Passolini\u2019s own visual education: the artist claims that the only landscapes he encountered during his childhood were those shown on television, rather than in nature. This explains his inclusion of a living room \u2013 complete with television set \u2013 with images flowing across the auditorium screen as if Passolini had downloaded his visual memories from a USB drive. The images include vintage adverts for products ranging from a lava lamp to automatic washing machines and a Chevy coupe, to scenes from films and television programmes. To close the event, the artist staged a performative raffle full of small \u2018prizes\u2019 for the audience members.\u00a0\u00a0\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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Visitas desorientadas: Mart\u00edn Kohan [Misguided Visits: Mart\u00edn Kohan]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Public Programmes department organises many activities at the museum but, since 2022, \u2018Misguided Visits\u2019 has been putting a new spin on a classic museum activity: the guided tour. On Saturday, 3 August, writer Mart\u00edn Kohan was invited to lead a visit to the main hall of the exhibition <\/span>Moderno y MetaModerno<\/span><\/i> [<\/span>Moderno and MetaModerno<\/span><\/i>]. Kohan began the tour at the entrance to the exhibition with a brief lecture on modernity, before reading eleven of his own unpublished essays on the following artists, each delivered in front of a work by the artist in question: Tom\u00e1s Maldonado, Guillermo Gonz\u00e1lez Ruiz, Oscar Smoje, Juan Pablo Renzi, Kenneth Kemble, Alberto Heredia, Ricardo Carpani, Antonio Berni, and Le\u00f3n Ferrari. After listening to his very unique interpretation of the works and their historical circumstances, the audience followed the author of <\/span>Museo de la revoluci\u00f3n<\/span><\/i> [<\/span>Museum of the Revolution<\/span><\/i>] to the doors of museum\u2019s historical building on San Juan where the Misguided Visit ended with a reflection on the riverside of the city.\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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J\u00e9r\u00f4me Bel<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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For just four dates in July, the Moderno\u2019s auditorium was transformed into a stage for a performance of <\/span>J\u00e9r\u00f4me Bel<\/span><\/i>, the aesthetic autobiography of the life of the French choreographer of the same name who revolutionised contemporary dance from the 1990s to the present. Given that the artist and his company no longer travel in an effort to reduce their carbon footprint, Bel invited Argentine actress Maricel \u00c1lvarez to play his role. There were four sold-out performances of this show in which J\u00e9r\u00f4me Bel \u2013 through Maricel \u00c1lvarez \u2013 expresses his aesthetic and political ideals, while his anti-choreographies (<\/span>Shirtology<\/span><\/i>, <\/span>Show must go on<\/span><\/i> and <\/span>Gala<\/span><\/i>, among others) project onto the screen. Following the last performance, Maricel \u00c1lvarez sat down for a conversation with Victoria Noorthoorn, Director of the Moderno, and Federico Igarz\u00e1bal, Director of the Festival Internacional de Buenos Aires (FIBA), where the work was first shown in 2023.<\/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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To accompany the exhibition <\/span>El aprendizaje infinito <\/span><\/i>[<\/span>Infinite Learning<\/span><\/i>], curated by Jimena Ferreiro, Public Programmes invited historian Jos\u00e9 Emilio Buruc\u00faa and artist Diana Aisenberg to speak in the Museo Moderno auditorium on 28 July. Known for his research on iconology, Buruc\u00faa delivered a keynote lecture on the history of attributions in the historiography of art. From Botticelli\u2019s <\/span>Venus<\/span><\/i> to different representations of <\/span>The Supper at Emmaus<\/span><\/i>, Buruc\u00faa shared his vast knowledge, revealing how echoes of that biblical theme can be found in 20th century tragedies, such as the Nazi genocide or the disappearance of people during Argentina\u2019s last military dictatorship. Aisenberg, meanwhile, provided a lively presentation of the Diana Aisenberg Method, a space in which her roles as artist and educator coexist, and a method that, for more than 30 years, has shaped many of Argentina’s contemporary artists.<\/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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Jornada Ser Modernos [Being Modern(o) Workshop]\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Based on a curatorial text produced by Victoria Noorthoorn and Francisco Lemus for the exhibition <\/span>Moderno y MetaModerno<\/span><\/i> [<\/span>Moderno and MetaModerno<\/span><\/i>], the Jornada Ser Modernos [Being Modern(o) Workshop], held on 18 July, provided a look back at the founding of the museum and the origin of the Pirovano Collection. Beginning in the morning and stretching into the late afternoon, there were three panel sessions with art historians, professionals from the Moderno, artists with ties to the museum\u2019s history, and contemporary artists whose work engage with the 20th century abstract works of the permanent collection. Pino Monkes, head of Conservation at the Museum, along with architect and designer Mart\u00edn Huberman and painter Gilda Picabea spoke about the Pirovano Collection from their different points of view. This opening session was followed by another titled \u2018The Squirru Strategy\u2019, featuring historians Florencia Qualina and Leandro Mart\u00ednez Depietri, as well as artists Pedro Roth and Miguel Harte. The closing session, \u2018The Parpagnoli Method\u2019, included a lecture by historian Berenice Gustavino, an account by Rosario-based artist Norberto Puzzolo of his encounter with Sol LeWitt in Buenos Aires, and a presentation by Laura Buccellato, director of the Museum between 1997 and 2013. Over the course of the day, the auditorium was filled with historical images of the early years of the Moderno, from 1958 to 1969, including views of the galleries and the public in attendance when the museum was housed on the 8th Floor of the Teatro San Mart\u00edn. The panels were moderated by Fernando Garcia, Curator of Public Programmes at the Moderno.\u00a0\u00a0\u00a0\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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2023<\/h2>\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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Una argentina en la NASA: Clara O\u2019Farrell [An Argentine at NASA: Clara O\u2019Farrell]\n\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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To accompany the exhibition <\/span>A 18 minutos del sol <\/span><\/i>\u00a0[<\/span>18 Minutes from the Sun<\/span><\/i>], the Moderno, in co-ordination with the US National Aeronautics and Space Administration, organised a public Zoom interview to present the work of Engineer Clara O\u2019Farrell at the Jet Propulsion Laboratory. As part of the team working to explore Mars, O\u2019Farrell is chronicling the participation of women in the space race and Argentina\u2019s achievements in the field.\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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La l\u00ednea imprecisa: B\u00e1rbara Hang y Ana Laura Lozza [The Blurred Line: B\u00e1rbara Hang and Ana Laura Lozza]\n\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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In June 1970, the Instituto Di Tella closed its doors with a final performance of <\/span>Mar\u00eda Luc\u00eda Marini es Maril\u00fa Marini<\/span><\/i> [<\/span>Mar\u00eda Luc\u00eda Marini is Maril\u00fa Marini<\/span><\/i>], her second solo performance to take place at the same venue where she had made her debut five years earlier with <\/span>Danse Bouquet<\/span><\/i>. On 6 December 2023, the dancers and choreographers B\u00e1rbara Hang and Ana Laura Lozza were invited by Public Programmes to recreate that last performance based on the few archival records available. Since there are no photographs or filmed footage of the performance available, Hang and Lozza took the original music from the event (which included Chopin, Manal, Satie, The Doors, and others) and created a choreography in the room where the <\/span>Danza Actual. Experimentaci\u00f3n en la danza argentina de los a\u00f1os 60<\/span><\/i> [<\/span>Dance Today: Experimentation in Dance in the 1960s<\/span><\/i>] exhibition was on display. Their movements stood out against the giant posters of their dance predecessors: Graciela Mart\u00ednez, Ana Kamien and Maril\u00fa Marini herself.<\/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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Luz de verano: Andr\u00e9s Di Tella [Summer Light: Andr\u00e9s Di Tella]\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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On Wednesday, 29 November 2023, filmmaker Andr\u00e9s Di Tella presented two relatively unknown short films in the museum auditorium. <\/span>Luz de verano<\/span><\/i> [<\/span>Summer Light<\/span><\/i>] (2019) and <\/span>Diario 6<\/span><\/i> [<\/span>Diary 6<\/span><\/i>] were programmed to accompany the exhibition <\/span>Juguetes rabiosos<\/span><\/i>.<\/span> Vanguardia y destrucci\u00f3n en el arte argentino de los a\u00f1os 60<\/span><\/i> [<\/span>Mad Toys: The Avant-garde and Destruction in 1960s Argentinian Art<\/span><\/i>], which explored the connections between the avant-garde and Argentinian cinema in the sixties. <\/span>Luz de verano<\/span><\/i> takes a scene from Leopoldo Torre Nilsson\u2019s <\/span>La terraza<\/span><\/i> [<\/span>The Terrace<\/span><\/i>] and turns it into a kind of group portrait of a generation of young people (Leonardo Favio, Graciela Borges, Dora Baret, and others) who hovered somewhere between idealised beauty and self-destruction. Some of the works included in <\/span>Juguetes rabiosos<\/span><\/i> touch on the same theme. Between the films, Di Tella presented an analysis of his work with the archive, the discarded footage he uses for his films, and the focus on rubbish in informalist works of the 1960s.<\/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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Arte, ecolog\u00eda y vanguardia: Nicol\u00e1s Garc\u00eda Uriburu [Art, Ecology and Avant-Garde: Nicol\u00e1s Garc\u00eda Uriburu]\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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As part of the public programmes in connection with the exhibition <\/span>Manifiesto verde Imaginarios pict\u00f3ricos para un mundo en emergencia. 1940-2020<\/span><\/i> [<\/span>Green Manifesto: Pictorial Imaginaries for a World in Emergency. 1940\u20132020<\/span><\/i>], on 22 November 2023, Isabel Plante (UNSAM-CONICET) presented a detailed analysis of the works of Nicol\u00e1s Garc\u00eda Uriburu, a leading artist at the intersection of contemporary art and ecological activism. Plante examined Uriburu\u2019s career, from his early Pop beginnings to his breakthrough on the international stage when he dyed the waters green at the 1968 Venice Biennale, and his historical collaboration with Joseph Beuys. She also drew a parallel between his work and the American land art movement, and showed a range of images and artists whose work complemented the themes of the <\/span>Manifiesto verde<\/span><\/i> exhibition, curated by Alejandra Aguado. As with the exhibition itself, the lecture by Isabel Plante, a specialist in the Argentine artist diaspora in Paris, formed part of the Moderno\u2019s mission to highlight the potential of Argentine art to raise awareness of the destruction of our planet.<\/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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Noy a Fondo: Fernando Noy [In Depth: Fernando Noy]\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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Within the framework of the exhibition <\/span>Cultura colibr\u00ed. Arte e identidad en el under de los a\u00f1os 80 y 90<\/span><\/i> [<\/span>Hummingbird Culture: Art and Identity in the 1980s and 1990s Underground Scene<\/span><\/i>], the Moderno hosted the event <\/span>Noy a Fondo<\/span><\/i> [<\/span>In Depth: Fernando Noy<\/span><\/i>], with the participation of poet and performer Fernando Noy, curator Jimena Ferreiro, and curator of Public Programmes Fernando Garc\u00eda. Though it was conceived as a public interview, the encounter turned into a caf\u00e9 concert. It was a museological exercise based on a type of night-time venue seen in Buenos Aires, in which music, theatre and happenings intermingled. After the caf\u00e9 concert came the basements and discos of the 1980s and 1990s, and eventually the stand-up comedy venues of today. These types of activities show how influential these spaces were on the art scene of the 1960s, 1980s and 1990s.\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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Accompanied by a playlist ranging from tango to tropicalism, Brazilian music and rock and folklore, Noy captivated the audience with his stories of the \u2018Hummingbird Culture\u2019. Against the backdrop of the voices of Goyeneche, Elis Regina, Tanguito, Luca Prodan, and Mercedes Sosa, the artist showed his own poetic power in his interactions with the audience.<\/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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