{"id":53597,"date":"2025-08-05T16:57:21","date_gmt":"2025-08-05T19:57:21","guid":{"rendered":"https:\/\/museomoderno.org\/gaspar-nunez\/"},"modified":"2025-08-11T15:10:39","modified_gmt":"2025-08-11T18:10:39","slug":"gaspar-nunez","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/gaspar-nunez\/","title":{"rendered":"Gaspar N\u00fa\u00f1ez"},"content":{"rendered":"\t\t
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Gaspar N\u00fa\u00f1ez\n\n<\/h1>\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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SAN MIGUEL DE TUCUM\u00c1N, TUCUM\u00c1N PROVINCE
\nARTIST, CURATOR, RESEARCHER, WRITER\n\n<\/h5>\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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SUBMITTED PROJECT<\/h5>\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 parlamento de nuestra vecindad [Our Neighbourhood Parliament]\n\n\n<\/i>\n<\/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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\u201c<\/span>Much has been written about the relationship between museums and mausoleums, between archives or storehouses for works of art and dumps or mass graves, and between curators, rag-and-bone men and gravediggers. In the case of Alberto Heredia, the connection is much more metaphorical, since his work is physically constructed from rubbish and, since his house was also his studio, his daily life consisted of continuously loading and unloading of waste.<\/span><\/p>

Heredia’s work has often been approached from the perspective of surrealism precisely because of the similarity between those physical waste dumps and the tangled accumulation of the unconscious. From that point of view, it appears certain practices \u2013 such as theory, historiography and curatorship \u2013 detect small findings in that shapeless mass of waste and bring them to the conscious fore, like words holding out a chilling cloak of lucidity. Meanwhile, the artist rescues rubbish without every managing to redeem it or strip it of its opacity, no matter how much he scrubs away at it.<\/span><\/p>

But what happens in the case of poetry and its opaque language? Rafael Squirru \u2013 in addition to being a critic, essayist, manager and diplomat \u2013 was a poet, and many of his texts about artworks are written in verse. His criticism takes the form of poetry, in an echo of Friedrich Schlegel, who said, ‘Poetry can only be criticized by way of poetry. A critical judgment of art that is not, in turn, a work of art has no place in the realm of art\u2019.<\/span><\/p>

Being a ghost comes as an excess of life after death. But what happens in a museum that begins as a spectre, and only later takes on a body and image? What was once a ghost museum is now an inverted museum: a realm of art, our residual neighbourhood.<\/span><\/p>

For the residency at Casa Alberto Heredia, I would like to operate according to his method of loading and unloading waste. Working at the Documentation Centre of the Museo Moderno and with their documentary archives, I will search catalogues, newspaper clippings, correspondence and the like, for ekphrastic poetry discussing works or artists that could later be brought together in a publication. This work raises the question of whether poetry can be read as documentary record without losing its unassailable marginal nature, and whether, in that tension, a poetic historiography of art can be established that, in alignment with Schlegel, maintains its principle of citizenship and good neighbourliness.<\/span>\u201d<\/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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Born in Tucum\u00e1n in 1994, N\u00fa\u00f1ez is currently studying for a Master\u2019s degree in Modern and Contemporary Art (UNA) and was a fellow of the UTDT Artists Programme (2020-2021). He was a student at the Faculty of Arts (UNT) and the School of Fine Arts (UNT). N\u00fa\u00f1ez has been awarded creation grants by the FNA (2019, 2022) and research grants from EVC CIN (2025), and is a prize winner of the Biennale for Young Art BA (2019), the Fundaci\u00f3n Andreani (2021) and the Sal\u00f3n Jamaica Posible (2020), among others. He has also been a member of research teams led by Marcos Figueroa (2015\u20132019) and Mar\u00eda Fernanda Pinta (since 2023). As a curator, he has organised exhibitions at Bienal Sur, the Museo de la Universidad Nacional de Tucum\u00e1n and the Museo Genaro P\u00e9rez of C\u00f3rdoba, among other spaces. He has been the director of Carimbu Editora since 2022 and previously he was co-editor of the magazine <\/span>Las G\u00e1rgolas<\/span><\/i> (2020-2022) and Galer\u00eda Lateral (2015-2019), winning awards at arteBA and MAC C\u00f3rdoba. Past residencies include, among others, Yesca, Mundo Dios, Casa de Piedra, La Ira de Dios, and CCR-BIM. He has organised clinics with Alejandra Mizrahi, Carlota Beltrame, Marcelo Pombo, Ana Gallardo, Eva Grinstein, Alberto Passolini, and more. His work has been shown in Tucum\u00e1n, Buenos Aires, C\u00f3rdoba, Rosario, Salta, Mendoza, Mexico City and Santiago, Chile. He is a regular contributor to art magazines.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\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\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Gaspar N\u00fa\u00f1ez SAN MIGUEL DE TUCUM\u00c1N, TUCUM\u00c1N PROVINCE ARTIST, CURATOR, RESEARCHER, WRITER SUBMITTED PROJECT El parlamento de nuestra vecindad [Our Neighbourhood Parliament] \u201cMuch has been written about the relationship between museums and mausoleums, between archives or storehouses for works of art and dumps or mass graves, and between curators, rag-and-bone men and gravediggers. In the […]<\/p>\n","protected":false},"author":7,"featured_media":53361,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-53597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53597","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/comments?post=53597"}],"version-history":[{"count":5,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53597\/revisions"}],"predecessor-version":[{"id":53603,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53597\/revisions\/53603"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media\/53361"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=53597"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=53597"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=53597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}