{"id":8944,"date":"2020-08-03T12:42:00","date_gmt":"2020-08-03T15:42:00","guid":{"rendered":"https:\/\/museomoderno.org\/sentido-comun\/"},"modified":"2023-06-12T15:11:32","modified_gmt":"2023-06-12T18:11:32","slug":"common-sense","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/common-sense\/","title":{"rendered":"Common sense. Art and Community"},"content":{"rendered":"\t\t
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Common sense. Art and Community<\/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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ART AND COMMUNITY<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Each and every action we take is determined by the bonds we form voluntarily with other people: they are directed at them, come from them and are reinforced by them. Life in a community, whatever form it might take, is an organic means of gaining strength, of learning from and with others and of building resilience when circumstances expose how vulnerable we are on our own. Communities vary widely but all are a collective of people who share a common feeling, energy and language that serve to support and enrich our existence.<\/p>

Since 2016, the Communities team in the Education Department of the Museo Moderno has organized activities with different collectives with the objective of encouraging greater integration in accordance with their needs, desires and challenges. These activities, many of which continue over time as part of a continuous working system, seek not just provide access to exhibition spaces but also to build a channel of communication and interaction with diverse sectors of the population and so connect with universes that may have seemed off-limits. One of the central pillars of #commonsense is the podcast \u2018Collective community glossary\u2019 which will be broadcast during the first two weeks of August to lend greater visibility to artistic projects with a local, communitarian focus that generate emotional and reflexive ties with the museum.<\/p>

Additionally, the Museo Moderno believes that it is essential to share the space of our virtual platforms with groups of artists and artistic projects that shine a light on the different ways in which communities can be constructed. They all emphasize the power of the collective, be it through working as a group or the construction of a sense of belonging.<\/p>

Over these two weeks, in addition to the activities run by the Communities Team, the museum will present: a project linked to artistic action, education, feminist activism and social work conceived in 2003 by Fernanda Laguna that today includes a collective of women united by shared emotions and commitment; \u2018Proyecto Yungas\u2019, created by Ra\u00fal Flores and Piero Sogno, an artists residency that seeks to establish temporary communities and formative networks at the federal level; artworks by Liliana Ancalao and Silvia Barrios, who use poetry, music and anthropology respectively to emphasize the importance of maintaining and promoting the cultural output of Mapuche, Andean and Gran Chaco communities; an exchange with the very different culture of a town in the demilitarized zone between the borders of North and South Korea; a pair of films by Adri\u00e1n Villar Rojas; and a cooperative of singers<\/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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A guest performance by Grupo de los Ocho, a group of elderly performers, within the framework of the exhibition A History of the Imagination in Argentina: Visions of the Pampas, the Littoral and the Andes from the 19th century to the present day, Museo de Arte Moderno de Buenos Aires, 2019.<\/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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Workshop run by CUJUCA (Congress of Street Games) on the pavement outside CPI Casitas within the Early childhood program run by the Department of Education of the Museo de Arte Moderno de Buenos Aires in collaboration with Arte en Barrios, 2019.<\/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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of birdsong known as \u2018Asamblea de P\u00e1jaros\u2019 (Bird Assembly) run by Sof\u00eda Bohtlingk, Julieta Garc\u00eda V\u00e1zquez and Florencia Rodr\u00edguez Giles which expands the idea of community into nature and interspecies perspectives. We will also be presenting Safo (Sappho), a recreation of the cult, underground Argentine film in which the filmmaker Goyo Anchou depicted a panorama of the LGBT community in the early 2000s.<\/p>

These approaches to different modes of seeing and acting as a community would
seem\u00a0to confirm that on the path to the collective life for which we all yearn art is one
of the best\u00a0ways of forging lasting bonds based in new sensibilities, profound dialogue
and fantasies\u00a0about potential new worlds.<\/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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Monster Play workshop run by Florencia Rodr\u00edguez Giles, for the Tinkunakuy Art and Mental Health Group at the Hospital General de Agudos Dr. Cosme Argerich within the Mental Health Cultural Inclusion Programme and the Museo de Arte Moderno de Buenos Aires, 2019.<\/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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Adri\u00e1n Villar Rojas: THE MOST BEAUTIFUL MOMENT OF WAR & THE WAR OF THE STARS<\/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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Moderno + Argerich Art and Mental Health<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Since 2016 the Education department at the Museo Moderno has been working with the Cultural Inclusion Programme run by the National Department of Mental Health.<\/p>

The objective of this partnership is to provide a space for artistic production, encounter and reflection with, for and by a community of artists that make use of the mental health services of the Hospital General de Agudos Dr. Cosme Argerich.<\/p>

Year after year, the emotional bonds between the hospital and the museum, two essential public spaces, have grown and consolidated themselves to break down stigma and reaffirm the power of horizontal work between artists, mental health professionals and museum educators.<\/p>

Here, we present a record of the process since 2019.<\/p>

Special thanks go to Florencia Rodriguez Giles @idiano_anatole<\/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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TUTORIALS<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Whipala. Indigenous Brotherhood. Tutorial to learn more about\nand make your own Whipala flag by Mercedes Iriarte.<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Wiphala flag represents us and brings us together across the Americas and the world. It represents love and respect for the universe, Pachamama, communities and nature.In this tutorial run by Mercedes Iriarte we will learn more about it, what each of its colours represents and its importance as a symbol of our roots.<\/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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Tutorial to draw fantastical characters\nGiven by Emmanuel Franco<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We invite you to draw fantastical characters through fun steps that encourage
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Online launch of the book\nABTE 57 x 30.5mm: Fifteen years of railway culture<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We share online the book that compiles the work done for the exhibition ABTE 57 x 30.5mm: Fifteen years of railway culture, presented at the Museum of Modern Art of Buenos Aires in 2013. The publication includes an essay curatorial by Javier Villa in conversation with the members of ABTE, as well as essays by Agust\u00edn Diez Fischer and Pablo Gregui.<\/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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ABTE (Edmondson Type Ticket Grouping) is a moving work of art that carries fifteen years of production dedicated to the investigation of railway graphics, its restoration and the production of works, through actions, interventions, videos, performances, graphics and painting. It was started by Patricio Larrambebere and Javier Mart\u00ednez Jacques, and is currently made up of Javier Barrio, Mart\u00edn Guerrero, Patricio Larrambebere, Gachi Rosati, and Ezequiel Semo. ABTE not only is an archive-collection on the railway system in Argentina, but it also proposes activate numerous enclaves of the historical or current railway space signaling loss and change in the landscape that caused the process of concessions, closure and dismantling of the railway network Argentina.<\/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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Assembly of birds<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Is it possible to form a community without including other species as members?<\/p>

Specially commissioned by the #MuseoModernoEnCasa programme, the artists Sof\u00eda Bohtlingk, Julieta Garc\u00eda V\u00e1zquez and Florencia Rodr\u00edguez Giles have organized a cooperative of singers in bird language.<\/p>

The first act of the new community was to create a choral, audiovisual poem. Without ever getting to meet each other in person, the different members sent in videos in which they chirp into the landscape in front of them. It was their first encounter: they were learning about one another not through facial expressions, names or speech but through chirps, burbles and whistles that portray what they see from their state of isolation.<\/p>

\u2018Dehumanizing\u2019 language \u2013 or practising an irrational, non-hierarchical, purely formal or intuitive language \u2013 might serve as training for both new dialogues and interactions with other species as well as to modify the kind of relationship we build between each other.<\/p>

Sof\u00eda Bohtlingk, Julieta Garc\u00eda V\u00e1zquez and Florencia Rodr\u00edguez Giles are visual artists. For several years now, they have been conducting research into different ways of displacing identity. They currently live and work in Buenos Aires.<\/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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SAFO (2001-2003) A film by Goyo Anchou<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Goyo Anchou says: \u2018It was the spring of 2001, the country was a pressure cooker and a group of kids from the poshest film school in the city shed our technological privileges and headed out to deconstruct a classical story during the last gasp of the Buenos Aires night. SAFO, a drag remake of the classic film starring Mecha Ortiz, seems like a crazy idea between friends, but there is much more to it than that. It was the result of quite an intense debate we were having with the FUC, where I was teaching, about the need to reimagine audiovisual language in terms of aesthetic tradition, production and political needs. This couldn\u2019t be done if we didn\u2019t \u201cforswear all<\/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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techniques\u201d, an approach I\u2019d embraced enthusiastically when, in my youthful short films, I bathed my early sexual experiences in glamour but that now seemed mere lip service in the face of the discussions we\u2019d started to have about the need to make \u201cguerrilla cinema\u201d. We\u2019d come to the conclusion that the guerilla cineman had been the only original thing our continent had offered to universal cinema. Guerrilla film, which began on the poverty-stricken periphery of the Cuban revolution and in Argentine underground movements, allowed you to make movies without asking capital for permission, after which it was appropriated (stolen) by the American complex, had its meaning inverted and was then returned to us in the form of music videos, or as a cheap way to make genre movies and increase profit margins. How ironic that such an egocentric and technically perfect music video by Madonna had its origins in the very precarious Now by Santiago \u00c1lvarez (made on an extremely low budget from news clips strung together with the noble goal of sparking rebellion among the black population of the USA).<\/p>

\u201cA perfect technique is immoral in an imperfect world\u2019 was our motto as we went out onto the streets to destroy language with blows of reality. I don\u2019t remember exactly when we decided to make Safo, the temptress, a drag queen or a series of drag queens because back then drag queens and transvestites ruled Buenos Aires, creatures from another world, a natural choice for seducing the innocent protagonist until he gave up his role as a patriarchal kid and surrendered himself to the dissolute embrace of the night.\u2019<\/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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Goyo Anchou, a historian and Argentine maker of \u2018Guerrilla cinema\u2019. Together with a team directed by Claudio Espa\u00f1a, he wrote Industria y clasicismo (2000) and Modernidad y vanguardias (2004). He directed SAFO, historia de una pasi\u00f3n (2001), La peli de Batato (2011), Heterofobia (2015) and El triunfo de Sodoma (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\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The 26 Project<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This video provides coverage of the cultural project undertaken to document the relocation of residents of Villa 26 implemented by the City Housing Department. The slum was cleared on the orders of the Supreme Court in a legal ruling known as the Mendoza Case, which decrees that the shores of the Riachuelo must be cleared. The book La 26 arose out of this initiative featuring photographs by Gian Paolo Minelli and texts by Leonardo Sabbatella, who worked with the community during the process.<\/p>

Featured in the video are Pablo M\u00e9ndez, Leonardo Sabbatella, Gian Paolo Minelli, Cristian Javier Cardozo, Robert Gabriel Perdomo Dalmao, Gonzalo Aguilar and Juan Carlos Urrutia. Director and screenplay: Gonzalo Aguilar.<\/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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Katinaj: half a century later<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A 45-minute visual record of an ancestral festival of the Wichi, Chorote, Nivakl\u00e9 Ava Guaran\u00ed and Chan\u00e9 peoples. The ritual had not been performed for fifty years because the music, a fundamental part, was banned at the time and could only be preserved outside of the communities to which it belonged, in the wilderness or on stage in Argentine or European theatres. Directed by Paulo Campano from a script by Federico Aguilar, Paulo Campano and Silvia Barrios (part of the Indigenous Argentina project that has been running for over thirty years by Fundaci\u00f3n Norte under the direction of Silvia Barrios).<\/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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Anka Laufken \/ In the middle of the lake\nThree poems by Liliana Ancalao<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The poet Liliana Ancalao reads her works in two languages that form part of her heritage: Mapuzungun and Spanish. Through her poetry and the revival of the language of her Mapuche ancestors, Ancalao builds a universe that inevitably contains both a personal history and the age-old story of the Mapuche community.<\/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 Yungas Project<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We pay homage to the Yungas Project, a space of residencies that for almost a decade has been encouraging creativity among communities of artists as part of a federal, inclusive outlook. Yungas is a workshop where creative processes are shared to offer training and raise visibility.<\/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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The Yungas Project is a nomadic platform that provides grants for training, production and thinking by young artists from across the country. The intention is to stimulate, inspire and encourage not just artists at the beginning of their careers, but also the spaces and collectives where they come together. It was created by Piero Sogno and Ra\u00fal Flores nine years ago and has taken place across six editions in Mendoza, Tucum\u00e1n, Corrientes, C\u00f3rdoba, Tigre and Buenos Aires as well as organizing events, residences and festivals. For the past two years, it has also run the Yungas Haus, a centre in Villa Nougu\u00e9s, Tucum\u00e1n.<\/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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Imago Mural Workshop run by Juan Puerto\nfor the PAMI Balcarce Residence<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The +60 Moderno Programme develops projects for and with elderly people in accordance with the philosophy of an active old age. The activities are aimed at undermining stereotypes associated with old age and rethinking this stage of life as one of activity and creativity. In September 2019, the Imago Mural workshop was held (run by the teacher, graphic designer and illustrator Juan Puerto) with a group of elderly people at the PAMI Balcarce Residence in the streets around the museum. We present documentation of the experience.<\/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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No One\u2019s in Charge Here\nA conversation with Belleza y Felicidad Fiorito<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Belleza y Felicidad Fiorito is a cultural and educational project that uses art and feminist activism to improve life in the Villa Fiorito neighbourhood. In this video, some of its members explain how their community was built with an emphasis on learning, a lack of hierarchy and emotional togetherness.<\/p>

Belleza y Felicidad Fiorito is made up of: Gisella Rivas, Victoria Musotto, Luc\u00eda Reissig, Larisa Zmud, Daniela Iwaniuk, Claudia Gim\u00e9nez, Franco Mehlhose, Julia D\u00edaz, Micaela Iribarren, Maru Pensa, and Fernanda Laguna.<\/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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Belleza y Felicidad Fiorito is a cultural and educational project that started in 2003 on the initiative of the artist Fernanda Laguna in Villa Fiorito, in the Lomas de Zamora district. It was initially organized to support a community kitchen through the creation of an art gallery and promote workshops for children. Today its activities are based around three central themes: culture, work and activism; the cultural side includes workshops, events and festivals, publication of magazines and albums and running the art gallery. The work aspect involves a women\u2019s cooperative that produces t-shirts and silk-screened products. The activism involves activities organized as part of the Comedor Gourmet and Ni una menos Fiorito, a women\u2019s collective organized in 2008.<\/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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Paper Stories\nStorytelling with Vera Veiga<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Vera Veiga tells us the Guaran\u00ed legend of yerba mate, with illustrations by the Membrilla craft publisher, which employs the Japanese Kamishibai (paper theatre) technique.<\/p>

Vera Veiga is a storyteller, kindergarten teacher and puppeteer. She currently works at the Vocational Art Institute. She is a member of the group Valijas en cuento, with whom she travels to rural and urban schools giving literature and kamishibai workshops.<\/p>

Her work can be seen on facebook.com\/labocareciclante\/<\/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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Fantastic readings How do the books get to each place?<\/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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Al rescate de la comunidad experimental<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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