selected works

gb.
selected works
1
GAMES
institutional alternative
FreeTown Border
hopelessness
copies
how not to be ruled
2
GAMES
3
MARKED DATES
Fabric board, prints , 4 players and 1 dice
game about the history of feminism in Argentina
110 x 67 cm
2016
4
CHESS
Traced bills
(argentinian pesos an
us dollar) on pad
50 x 50 cm
2015
5
institutional
alternative
6
THE CHECK
Pencil & watercolor over cotton paper on foam board.
70 x 30 cm
2016
The check was first released to acquire Roberto Jacoby’s “Mao y Perón, un solo corazón” piece; the trade never took place. The second check comes out of the impossibility to cash in a Fundación
Jumex scholarship fund in 2015. Hencefore the check works as the only trade tool in an overflawed system.
7
DEEP WEB
HD Video single channel
record of the exhibition, without permission, at the informatics museum
6’22’’
2013
Video realized in one afternoon in Buenos Aires museum of informatics during an exhibition dedicated to Steve Jobs and Macintosh, wearing an Anonymous (guy fawkes popular comic character)
mask. Intervention featuring collages and newspapers cut outs.
8
THE FORM-GIVER
Video projections from one cartoon box into another showing footage of visitors to exhibitions in the Museum of Barro (Paraguay) and the Museum of Fine Artes in Chile.
14’ 13’’
2013
9
CAPTIVE AUDIENCE
Street banners
Museums advertising campaign
400 x 150 cm
2012
10
YOUR MUSEUM
HD video
tutorial how to make your museum
8’35’’
2013
11
FreeTown
Border
12
CYPHER
Benzacar gallery collection installed in garage, includes pieces of Juan Carlos Romero,
Antonio Berni, Pat Andrea, Daniel Garcia, Marcelo Pombo and Eduardo Sivori
variable dimensions
2014
13
SHADOW
Sound machines of the Di Tella Institute
1968
200 x 340 x 140 cm
2013
There is a history of computing that
seems built in its linearity and in the
protagonism of the developed countries,
the image and likeness of the canonical
narrative of modernity.
However, both constructions fade to find
the edges of this imposed map, there,
where ephemeral and sporadic meet,
unthinkable technical appropriations
occur. Far from garage recurring image in
Silicon Valley, Berger intends to develop
her exhibition in the same way that these
other stories, based on the unexpected
links between fiction, technology and
political utopias. Thus, in a first instance,
the devices that once formed the Di Tella
Institute’s Electronic Music Lab now
rebuild its relationship with the atomic
project Huemul, the epic failure of the
Austrian physicist Roland Richter during
Peronism.
Extracted from the exhibition text by
Agustin Diez Fisher
14
THE LINE, THE CROSS AND
THE CURVE
Steel wire, nylon and toilet paper
variable dimensions
2012-2013
15
AVAILABILITY IN RISK
Gelatin paper from TV shows, wire and
light bulb
variable dimensions
2013
16
EARTH REMAINS
27 paintings exchanged for 27 plants
(exhibition view before the exchange begins)
series of paintings on discarded
materials for printing companies
variable dimensions
2011
1 - The paintings, twenty-seven all in all, made in different formats and sizes. To those I called as Goods for trade, numbered and signed. (Status of the commodity as an object and not only central
to economic trade, but as a cognitive model based on sensitivity)
2 - The date of exchange, the two-hour performance in which the exchange took place, but in this case the change occurs between inorganic and organic matter, to establish this difference, it is
important to note that while the first as canonical works, the notion recharged fetish art have a longer duration in time, the latter whose fragility is defined by its character as a living organism
have a finite duration and next
3-Twenty-seven plants exhibited for one month (the same were sold), with their symbolic meanings not necessarily derived from its function, for example between plants was a cactus exchanged,
according to popular mythology that means “strength to difficulties “, through collaboration and chance, , you create other way
17
RED BEAN JELLO
Korean military tent (waste from the war) and residues obtained from neighbors of the Anyang-si market (for a public dance floor)
200 x 400 x 180 cm
2009
18
hopelessness
19
ROBO
.Avi video featuring robbery footage from surveillance cameras from youtube. Audio used is taken from newspaper chronicles about illegal art trade in Argentina.
variable duration
2016
20
THE CUCKOO
Performance- the cuckoo hides in the shadows and follows you during the exhibition
variable duration
2012
21
COPIES
22
SYRIAN ELECTRONIC
ARMY
Collection of 29 watercolors
over copies of internet hacks & leaks by the Syrian Electronic Army
(from twitter, chrome apps, new york times, etc)
in a tracing-paper notepad.
37 x 50 cm
2015
23
THE OTHER CASE
Newspaper clippings on tracing paper
variable dimensions
2014
Series of drawings and inkjet prints in which differents newspapers notice the presence of nazi war criminal in argentina since the 50s and 60s.The project is separated in two rooms, one with blue
light and other with green light; the variations in light signal the different stages of research, its links and twists.
24
LAS PUERTAS
Ink, plastic & tourists
Sunken & demolished buildings’ façades of Mexico DF traced in nylon, relocated afterwards in Acapulco hotels.
variable dimensions.
2013-2015
25
TWO HOUNDS
Copy on pencil of the intelligence office on the whereabouts of joseph mengele on wall
variable dimensions
2014
This installation kicks off with copies of the leaks from Argentina’s State Secretary of Intelligence concerning the whereabouts of the nazi doctor Joseph Mengele. From there on, the text goes
spreading word by word, pencil on the wall until it’s over and the space is fully occupied.
26
HERO
Series of argentinian celebrated historical characters, watercolor over traces from screen.
35 x 50 cm
2014
27
THE PRICE OF THE
DIFFERENCE
Rubbing art manifests -Arte Nuevo (Peru),
Arte Nuevo (Paraguay), Grupo Rex (Brasil),
Bosque de los artistas (Paraguay), Colonia Tolstoyana (chile)on tracing paper and graphite
300 x 400 x 200 cm
2014
28
SUCURSAL
Ink on nylon
tracing of Museum La Ene facade
300 x 400 cm
2011
The work Sucursal was created to transport La Ene’s premises. it is a true representation, a copy, of the museum’s
façade. Due to its flexibility, it is mobile. it represents the creation of a space conceived on its users’ scale and
according to their whim. Sucursal embodies the possibility of occupying any space and making it one’s own,
allowing the museum to travel as inexpensively as possible.
29
how not
to be ruled
30
ADJUSTMENT PLAN
Installation composed by products with racist logos found in local grocery stores.
variable dimensions
2015
31
THE STONE THAT CHANGED THINGS
Collection bills on wood
variable dimensions
2013
The constructions from La piedra que cambió las cosas, 2013-2014 series, made from wood and uncirculated banknotes from various countries, seem to be part of an old photo album. These
currencies from Paraguay, Argentina, Uruguay, United States, Bolivia and Brazil may be more valuable to collectors than have any actual market value. The bills feature a careful selection of
buildings, historical figures, national landscapes and dated heroic deeds. This kind of portrait of the national character of the people is as changeable as the stock market, the interests of the
World Bank and the fall of the dictatorships that once plagued the continent. Now there is a National Institute of Argentine Historical Revisionism and in recent years, Argentine bills have become,
even more because of their novelty, an ideological object: in the hundred peso bill, Julio Roca was replaced by Eva Perón and now, instead of Domingo Faustino Sarmiento, the fifty peso bill
reclaims the Malvinas [otherwise known as the Falkland Islands] Islands for Argentina.
Extracted from the exhibition text by Marina Reyes Franco
32
CHINESE FOR
BEGINNERS
Watercolors on Mao Benzhi paper
21,59 x 35,56 cm
2010.2011.2012
These series of 300 drawings are made on traditional chinese calligraphy paper It’s an attempt to learn the chinese language through watercolors.
33
POLLO FRITO
Chapter 4
Noosed by the strings of jimi’s guitar,
I swing, purple/hazed pendulum. Hypnotizing
the part of the eye that never dies. Look into my
eyes are the windows of the soul is fried chicken,
eggs, and oil is the stolen blood of the earth, used
to make cars run and kill fish.
Who me? I play scales. The scales of
dead fish of oilslicked seas. My sister
blows wind through the hollows of fallen
trees. And we are the echoes of eternity.
Maybe you’ve heard of us.
We do rebirths, revolts, and resurrections.
We threw basement parties in pyramids.
I left my tag and the wall. The beats would
echo off the stone and solidify into the
form of ligthbulbs, destined to ligth up
the heads of future generations. They
recently lit up in the form of BA BOOM
BOOM OM. Maybe you’ve heard of us.
by Saul Williams, pag 156, The dead EMCEE Scrolls
The Lost Teachings of Hip Hop
Colección Visor de Poesia, Madrid, 2006
Performance-installation to walk through wearing a mask provided at the entrance
variable duration
2011
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