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Matienschön, Buenos Aires, 2018.
Curated by Tam Painé Ciai. With the participation of 2Bam, Agustín Colli, Alejandro Simón López, Ariela Bergman, Belén Charpentier, Carolina Jozami, Celeste Rojas Mugica, Darío Graschinsky, Denise Lara Margules, Ezequiel Sambresqui, Fernando Brizuela, Florencia Henke, Gonzalo Pérez Terranova, Guido Yannitto, Jair Jesús Toledo, Laura Preger, Leo Ocello, Lucas DM, Lucía Vela, Luz Peuscovich, Manuela Trujillo, Mariel Britez, Mariela Paz Izurieta, Martin Bollatti, Nacho Sánchez, Santiago Orti, Sasha Minovich, Sebastián Hacher, Sergio Fasani, Silvia Mildiner, Sofia Grodek, Sofía Ungar, Sonia Basch, Tembac, Tu Vieja, Vero Gatti & Viento Dorado. Realization: Agustín Jais & Atelier Brotes. Assistance: Carlos Díaz Pais. Thanks: Pablo Jais.
A 3-meter tall functional Ferris Wheel is installed for the 10th Anniversary of an independent arts space. The cabins are scale models of 36 of the exhibitions that happened in that same room over these years. Each model is made by the original artists of the exhibition, during gatherings in which we discuss the past decade in the life of the artists and the city. Those conversations are the research material for a video and a series of texts that complete the installation.
Behind the colors, the familiar shape of the wheel and the distorted icre-cream parlor melody, a doubt gets in the loop. What’s the use for a young art space? Each exhibition spins around a fixed axis. Up there, a panoramic view we are not invited to see. A ferris wheel, an outdated but still profitable experience. “Go up, go down, get out”. But it’s where people kiss. Isn’t that enough?
The exhibition aimed to give historicity to the gallery’s developments through an alternative archival process, while pushing forward a collective analysis on the state of young art organizations, and creating much needed links between the artists.
גלגל ענק בגובה 3 מטר מותקן ליום השנה העשירי לחלל אומנויות עצמאי. הבקתות הן מיניאטורות של 36 תערוכות שהתרחשו באותו חדר, כל אחד מיוצר על ידי האמן המקורי, במהלך ישיבות בהן אנו דנים על עשור האחרון בחיי האמנים והעיר. המטרה של תערוכה היה לתת היסטוריה להתפתחויות הגלריה באמצעות תהליך ארכיוני חלופי, לקדם את הניתוח קולקטיבי על מצב של ארגוני אמנות צעירים, ולחבר את האמנים
Around the world in 36 five o'clock teas // go up a floor / some people know each other, some don't / a food table and a working table / little transparent houses piled / and remembering and retelling exhibitions / ten years back and forth / and their surroundings / and what happened / with the works, the artists, those who participated, everything / create a thread between them / and between the crumbs / go down / and that's it, and goodbye.
36 things we learned from the Club's contemporary art room. 1) People is what's most important. 2) Process without the show, everyone forgot. 3) Remember just to keep going. 4) You can always make it. 5) Up to a minute before, the ceiling is falling down. 6) Don't be anxious about what's not solved. 7) Solve it. 8) Don't be afraid of artists. 9) Calm the others, let yourself be calmed down by others. 10) A hug. 11) The school of collective creation. 12) You don't need to fill every corner. 13) Dream about filling every corner. 14) Make a hole and cover it and make a hole until there's no wall. 15) Fight with reason. 16) Fight passionately without. 17) Keep up with uncertainty. 18) Keep up with discomfort. 19) Keep up with chaos. 20) Seek the heart of things. 21) Message exists, all good. 22) Indoors activism. 23) After human rights, everything seems superficial. It's not, but it seems. 24) Exhibitions need to be taken out for a walk. 25) Never again so many months of black walls. It was beautiful to go back. 26) Manifestos are important at first. Everything goes. 27) Everything can be an exhibition. Not everything is ok. 28) Tell ourselves we are the best. 29) Fail and fear. 30) Another hug, tighter. 31) At 4 am the room is a motel and a school. 32) Let things happen. 33) Lose control. 34) Lose desire. 35) Believe in love. 36) Fall in love. -Tam Painé Ciai.
"The Gozzi-Goethe-Polti number, as an evaluation of all the possibilities and resources of theatrical invention, seemed to us too tiny. All the symphonies of all times reduced to only 36 leitmotives, what musician wouldn't scream in horror if such a curse would fall upon his art! But a sudden turn makes the number seem too high if we evaluate the simple elements, the notes in the scale with which those symphonies are composed. In fact, what are the famous 36 simple situations? There is something worse. Many of this entities, dramatic or not, are actually not situations. They are actions, adventures, types of occurrences." -Etienne Souriau, 1950
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