{"id":8907,"date":"2020-10-13T15:05:00","date_gmt":"2020-10-13T18:05:00","guid":{"rendered":"https:\/\/museomoderno.org\/basta\/"},"modified":"2023-06-12T15:04:52","modified_gmt":"2023-06-12T18:04:52","slug":"enough","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/enough\/","title":{"rendered":"Enough! Contemporary Art Faces up to the Climate Emergency"},"content":{"rendered":"\t\t
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Enough! Contemporary Art Faces up to the Climate Emergency<\/h1>\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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Up until 1 November, the artwork Basta de contaminar [Stop Polluting] by Nicol\u00e1s Garc\u00eda Uriburu was on display on the Museo\u2019s fa\u00e7ade<\/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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Nicol\u00e1s Garc\u00eda Uriburu, Basta de contaminar [Stop Polluting], synthetic enamel on canvas, 5 x 15 m, 1999. Banner produced for the dyeing of the Riachuelo in collaboration with Greenpeace. Colecci\u00f3n Azul Garc\u00eda Uriburu<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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Reflections and Conversations about People of African Descent\nNational Day for Argentinians of African Descent and African Culture<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Today we celebrate the National Day for Argentinians of African Descent and African Culture established by Law 26,852 passed on 20 May, 2013. The objective is to promote inclusion and respect for communities of African descent and the date was chosen to honour Mar\u00eda Remedios del Valle, who was born in Buenos Aires between 1766 and 1767 and who took an active part in the Argentine War of Independence.<\/p>

We have organized a programme of activities to encourage a range of reflections about communities of African heritage, the racism from which they suffer and the opportunities we have to create a more egalitarian society. Don\u2019t forget to share your thoughts.<\/p>

Thinking about racism. How does it manifest itself and exist in a society? We suggest that you talk to your family and friends and try to think of the different ways in which we can eradicate the racism from which people of African descent suffer and also make their culture more visible. Then, all together you can make an artwork that represents these solutions. It might be a poster, a watercolour, a collage, a sculpture or an installation. Choose the technique or materials you like best, or have closest to hand.<\/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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*This artwork was made by the Afro-Argentine artist Hector Oscar Mayato together with Carmen Bonino, members of the Grupo Cosmos. Rojo astral (Astral Red), oil paint on backdrop paper glued to canvas, 117 x 158.5 cm. Acquisition, 1963<\/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

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CONTEMPORARY ART FACES UP TO THE CLIMATE EMERGENCY<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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For some time now the pollution, devastation and imminent catastrophe have been impossible to ignore: we\u2019re experiencing them at first hand, they\u2019re already affecting our everyday lives. Over the past year, the pandemic has made itself felt in every home across the world, while locally wildfires are raging all over Argentina, consuming vast tracts of land with no indication of when or where they might be stopped. These emergencies leave no room for doubt: the damage is being caused by human activity, we can no longer take refuge in ignorance or false reassurances.<\/p>

Artistic practice \u2013 which has never been afraid of questions, exploration or reassessment \u2013 offers us different paths of thought and imagination within a framework in which natural exhaustion, ambition and fear are linked to opportunities for change and renewal, to rethink the terms of social and environmental justice. The artistic gaze \u2013 at times critical and incisive, at others more poetic \u2013 is an important tool in raising awareness of the merciless damage we\u2019re causing to the earth, our home. But it can also help to reinforce and repair frayed bonds of respect and empathy towards our surroundings.<\/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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Nicol\u00e1s Garc\u00eda Uriburu, Basta de contaminar, Riachuelo, 1999. Fotograf\u00eda de la acci\u00f3n de denuncia en el Riachuelo, que incluy\u00f3 un tel\u00f3n de 5 x 10 mts y la coloraci\u00f3n de las aguas realizada en colaboraci\u00f3n con Greenpeace. Cortes\u00eda Azul Garc\u00eda Uriburu<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Nicol\u00e1s Garc\u00eda Uriburu, boceto del proyecto en el Riachuelo Basta de contaminar, 1999. Colecci\u00f3n Azul Garc\u00eda Uriburu.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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During a historical period when disaster seems inevitable and our hopes for change feel at risk of being choked off by smoke from the blazes, or drowned in flood water, art can be a liberating practice. With its means of re-educating the perception and exposing the bond between our bodies and the environment, its elegant but revealing ways of laying bare situations that might otherwise go unnoticed and its stubborn faith in the future of the world, art acts as an emotional and intellectual guide toward a new kind of human, harmonious, respectful and egalitarian growth. With its varied forms; research, editing, juxtaposition, drawings, sculpture, installation, images both subtle and provocative and many more, art emphasizes the value of learning through the senses, keeping one\u2019s gaze, hearing and touch alert so as to awaken a more profound sense of time, balance and understanding.<\/p>

Over the next three weeks, the Museo Moderno will highlight the work of a group of artists from Argentina and overseas that either reveal and expose the historical and social processes that led to this emergency or present micro-political aesthetics aimed at redirecting environmental strategy and policy. As the Argentine artist Nicol\u00e1s Garc\u00eda Uriburu, a pioneer in the combination of art and ecological activism, says: \u2018We still have time to rectify our mistakes, take care of our environment and become more worthy of living on this wonderful planet.\u2019<\/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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Nicol\u00e1s Garc\u00eda Uriburu My Art is a Protest<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Graciela Borges presents a selection of texts written by her great friend the artist Nicol\u00e1s Garc\u00eda Uriburu. Her inimitable voice introduces us to the thinking behind the Argentine artist\u2019s actions, images and artistic campaigns. Committed to raising awareness of environmental crises such as water pollution and forest depletion with artworks such as the dyeing of the Grand Canal in Venice in 1968, Garc\u00eda Uriburu became one of the first Latin American artists to make the connection between art and ecology.<\/p>

All images: \u00a9 Nicol\u00e1s Garc\u00eda Uriburu, reproduced with his permission<\/em><\/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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Nicolas Garcia Uriburu (2014) An Interview with Paula Toto Blake<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In this interview, produced by Micromundos Cine in 2014 for the Department of Culture via CePIA, the artist Paula Toto Blake speaks to Nicol\u00e1s Garc\u00eda Uriburu. The conversation spans his artistic interests and environmental concerns. In his workshop, Garc\u00eda Uriburu says: \u2018The thread that runs throughout my work is green, it\u2019s ecology.\u2019 Produced by Blas Eloy Mart\u00ednez and directed by Cecilia Priego.<\/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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ARTWOR AS QUESTION: CLIMATE CHANGE\n<\/h2>\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
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Delcy Morelos\nEnie<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u2018Enie\u2019 means \u2018earth\u2019 in the language of the Uitoto, an indigenous people from the Araracuara region in the Colombian Amazon. Enie is also the name that the artist Delcy Morelos chose for one of her immersive installations from 2018, which featured more than ten thousand earth biscuits kneaded with raw cane sugar, cocoa butter, clay and beeswax, and other organic components. Morelos\u2019 artwork is inspired by an ancestral technique in which the earth is sweetened, hydrated and greased in an ancient ceremony of thanksgiving to Pacha Mama. In Enie, direct contact with the colours and textures of the earth is complemented by the olfactory stimulation of ingredients that make up the exhibition space to create a multisensory bond with the material and symbolic planes of the earth. The act of viewing and entering into the installation transforms it into a sacred space, offering a moment in which to heal and be in communion with the ground on which we live.<\/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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Artwork photography: Ernesto Monsalve. Courtesy of NC-arte Drone images:
Josue Mej\u00eda. Courtesy of NC-arte<\/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

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Delcy Morelos\nEnie<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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As part of our digital programme #MuseoModernoEnCasa, which over the next few weeks will concentrate on the link between art and the environment, we invited the Ferrowhite Museum Workshop of Bah\u00eda Blanca to share some of their artworks and activities from the past few years that focus on these themes.<\/p>

Nicol\u00e1s Testoni, Director of the Ferrowhite Museum Workshop (Bah\u00eda Blanca, Argentina) says: \u2018Atilio Miglianelli was a diver. Even though he spent a large part of his life under water, he always managed to look tanned, even in freezing temperatures. Atilio was our first guide to the sinuous waters of the Bah\u00eda Blanca river. With him we learned that a worker\u2019s life is never synonymous with their work; what they do to earn a wage, it\u2019s everything else: their fears and desires, what they eat and how they dance, the clothes they like and the hours they spend lying in the sun. Listening to him describe a port with a beach and industry isn\u2019t an act of nostalgia, it\u2019s assimilating some more of the story that helps us to understand how Ingeniero White came to be what it is, it helps us to imagine the things that were and how they might be different.\u2019<\/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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Juli\u00e1n d\u2019Angiolillo\nSpeleovivarium<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Juli\u00e1n d\u2019Angiolillo, Speleovivarium<\/em>, 4\u201948\u201d, 2020<\/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

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The artist and filmmaker Juli\u00e1n d\u2019Angiolillo started to immerse himself in the world of speleology in 2010 when he joined a series of expeditions to caves around Argentina, Italy and Cuba. Since then, his documentary career has taken him to numerous hidden landscapes and secret havens, as well as introducing him to many different speleologists (specialists who study caves and work to preserve them) who, through his lens, become prophets of a natural equilibrium. The scientific discoveries of his interviewees act as a symbolic compass pointing the way to a more natural, harmonious way of living, a pointer to the importance of taking care of our inner world and protecting our sanctuaries. \u2018The earth has a fever,\u2019 says one of them. In this concise video of a visit to a museum in Trieste \u2013 taken from Juli\u00e1n\u2019s rich cave archive, which has provided the material for several artistic projects \u2013 we see much piercing, sensitive and symptomatic evidence. Gathered together as if they were a discovery at a moment in which it is essential that we listen to the rhythms of the earth again, they are heard as a revelation. After all, these testimonies come from people who have learned to see in the darkest spaces.<\/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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Entering into an Extraordinary Reality\nAccess to the sublime in the creative processes of Charly\nNijensohn<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In this conversation held specially for #MuseoModernoEnCasa, Charly Nijensohn speaks to Andr\u00e9s Denegri (curator of our Cinema is Something Else cycle), revealing details about his creative process when producing projects such as El ciclo de la Intensidad [The Cycle of Intensity], Dead Forest and El naufragio de los hombres [The Shipwreck of Man]. All the images in them arose out of a delicate balance between the power of nature and different human bonds. The artist also offers a glimpse of the projects he\u2019s currently working on and his plans for future enterprises.<\/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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Charly Nijensohn on the Uyuni salt flats during the filming of El naufragio de los hombres (2008). Photo: Juan Pablo Ferlat.<\/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

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Jonathas de Andrade\nO Peixe [El pez], 2016<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The work of Jonathas de Andrade (Macei\u00f3, Brazil, 1982) is closely tied to the stories and history of northeast Brazil, where he lives and makes anthropological installations and films. The power of his pieces arises out of the way in which he blurs the division between fact and fiction and how through minor narrative interventions into everyday acts he examines the natural and cultural history of his country and its relationships of class, race and work. In his artworks, we observe relationships of domination and power that still exist today. The film O Peixe [The Fish] (2016) was made with a group of fishermen, depicting their everyday routine. The moment of the catch, however, is followed by a long, unusual embrace of the fish: a ritual gesture to accompany it on its passage into death that exposes the ambiguous ties that bind us together. Sustained by a naturalized history of dominance among the species, it combines love and respect with need and violence. \u2018Nature almost makes us forget the perverse aspects of feeding on the flesh of another creature, but it\u2019s also a test for the audience,\u2019 says Andrade. We are thus encouraged to think about and reassess notions of beauty, care, violence, economic urgency and survival.<\/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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Jonathas de Andrade, O Peixe [The Fish], 2016, 16mm film digitized in 2k, 39\u201916\u201d. Courtesy of Galer\u00eda Vermelho, S\u00e3o Paulo, and Alexander and Bonin, New York.<\/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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Eduardo Molinari\nFrom Children of Soybeans to Children of Fire<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In this audiovisual presentation, the Argentine artist Eduardo Molinari invites us into his Walking Archive, a visual archive in which he explores the relationships between art, history and territory that he began in 2001. Tied together by a detailed narrative and drawing on his own work and images taken from the media, Molinari offers in his own voice a visual reading of the economic, historical and political context that is driving the ecocide of Argentina. Returning to his 2010 project \u2018Children of the Soybeans\u2019, the artist offers a new reading of the worrying deterioration of the environment over the past few decades and shows how it is connected to the recent wildfires in the Paran\u00e1 wetlands. Moving on from a condensed overview of the past decade, Molinari allows himself to expand his visual thinking beyond recent history and local geography.<\/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

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Virginia Buitr\u00f3n\nIn Praise of Slowness<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Virginia Buitr\u00f3n (Quilmes, Argentina, 1977) has spent more than five years working with different non-human creatures and natural organisms. Through close observation and study of the organic waste that makes up compost, Buitr\u00f3n has discovered a fascinating habitat full of life through which she endeavours to achieve an artistic understanding of natural life having set aside anthropocentric prejudices. In her drawings, inspired by the behaviour of the larvae of the species Hermetia Illucens, Buitr\u00f3n emphasizes the creativity harboured by even the smallest participants of the ecosystem. In this audiovisual piece, the artist relates the emotional and conceptual context to her link with the different natural actors she chose as subjects of her work to reveal the inter-species network we must protect if we are to have a sustainable future.<\/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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Jimena Croceri Waterfall<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jimena Croceri shares with the Museo de Arte Moderno de Buenos Aires her thoughts on Cascada [Waterfall], an act that she has been performing in different locations, most recently in the Botanical Gardens of the city of Berne in 2019 featuring visitors to the garden. During the act, water is supported and moved and bodies are refreshed. According to Croceri, \u2018It all began with a very intuitive interest in contemplating, working with and wanting to be close to this apparently tame but actually active, transformative element: it sets everything in motion. Right from the start I have been interested in its morphogenic powers, its ability to create forms for itself.\u2019 As we watch images of the exercise, in which touch is emphasized as a positive act of connection, the artist references the research of Astrida Neimanis and conversations she\u2019s had with members of the Mapuche community who believe in the sacred nature of water, combining them with her own thoughts about an evocative gesture that has something balm-like, playful and revelatory about it.<\/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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Carlos Ginzburg Art, Ecology and the Future<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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From Paris, the Argentine artist Carlos Ginzburg (La Plata, Argentina, 1946) held a conversation with the Museo Moderno to discuss the connections between his most iconic pieces from the 70s and his more recent installations and performances. In a profound dialogue, the artist narrates the different ways in which his ecological concerns and the climate crisis have affected his career of over half a century. From his first urban signalling to his most recent installation Post-madre tierra [Post Mother Earth], Carlos Ginzburg allows us a glimpse of his thought processes and artistic methodology against the background of an emergency that we must be aware of and find ways to reverse.<\/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

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Laura Glusman Amb\u00e1. A Kind of Paradise<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The video Amb\u00e1. Una especie de para\u00edso [Amb\u00e1. A Kind of Paradise] (2010) presents a visual memory, dream and reflection on the Paran\u00e1 Ra’anga cultural and scientific expedition held in 2010. The interdisciplinary project gathered together about thirty artists, writers, historians, musicians and scientists to sail up the La Plata, Paran\u00e1 and Paraguay rivers, from Buenos Aires to Asunci\u00f3n in Paraguay with the objective of rethinking the idea of the river during a transformative period, when the imminent construction of the Paran\u00e1-Paraguay Waterway was threatening to change the riverscape forever.<\/p>

Laura Glusman was part of the crew and filmed the shores of the river in a long, serene travelling shot. She also recorded interviews with fellow expedition members who spoke about how they imagined the future Paran\u00e1 ecosystem. Her film is thus a juxtaposition of a filmed present and an imagined future: two incarnations of a river that can be brought together and compared in the viewer\u2019s mind. Ten years after the trip, when reality appears to have exceeded our worst expectations, it is inevitable that we associate the images of wildfires raging across the landscape over the past few months with those seen in the film. Amb\u00e1 is not just a record, it also raises the alarm.<\/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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Mat\u00edas Duville A Line into Infinity<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In this audiovisual compilation of videos, recordings of installations, and images of drawings and paintings, the Argentine artist Mat\u00edas Duville (Buenos Aires, 1974) takes us on a journey through the desolate landscapes and those in a state of constant flux that he explores in his work. Having suffered from cataclysms, they make us feel the full<\/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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power of nature, its reactions and shifts, emphasizing its sublime and terrifying power against which human agency seems volatile and enfeebled. Tied together by a seductive soundscape, the images remind us of the earth\u2019s capacity for change and reinvention once it has been hit by catastrophe \u2013 a power infinitely greater than that of our species. They also explore the bonds that we establish with it: of failed domination on the one hand, but also the potential harmonies we perceive in psychedelic visions. The video and laboratory of ideas are part of Duville\u2019s \u2018line into infinity\u2019 \u2013 the name of the project, which refers to time and the essential element of the drawing that drives his work \u2013 a series of work produced over the past fifteen years in Argentina and overseas, exhibited at institutions in France, Brazil, and the USA.<\/p>

His most recent projects and exhibitions include: Desert means ocean (MOLAA, Los Angeles, 2019); The Valise Project (MoMA, New York, 2017); Muta\u00e7\u00f5es (MAM, Rio de Janeiro, 2015); Safari (Malba, Buenos Aires, 2013) and Alaska (Drawing Center, New York, 2013). His work is featured in the collections of the MoMA, New York; Tate, London; Centro Nacional de Arte Reina Sof\u00eda, Madrid; Solomon R. Guggenheim Museum, New York; Patricia Phelps de Cisneros Collection; and the Museo de Arte Moderno de Buenos Aires, among others.<\/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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Florencia Levy Fossil Place<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The stories and images of Lugar f\u00f3sil [Fossil Place] dilute references to time as part of a stimulus for thinking about necessary change. Through diverse testimonies about environmental and economic phenomena \u2013 events that have occurred in different cities in China over the past forty years \u2013 Florencia Levy\u2019s audiovisual piece constructs a dystopian narrative in which what we see and hear is recognizable as both an urgent present and an imminent future. In March 2020, the artwork received the Trabucco Otros Soportes Acquisition Prize organized by the Academia Nacional de Bellas Artes and is currently going through the donation process.<\/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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Florencia Levy (Buenos Aires, 1979) studied at Central Saint Martins College of Arts in London and the Universidad Nacional de Artes de Buenos Aires. Her practice is founded in long term research into different subjectivities related to history, architecture and the public space. She has been on artistic residencies in the United States, Taiwan, China, Israel and Cuba, among other countries. Her artworks have been exhibited at the Museum of Modern Art of Moscow, Arko Art Center in Seoul, South Korea, and the Museo Nacional de Bellas Artes in Santiago de Chile. This year, she received a Pollock-Krasner Foundation grant and won the Trabucco Otros Soportes Award from the Academia Nacional de Bellas Artes.<\/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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Ambient Sound\nA playlist from Listen [Visual Sounds] cycle<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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