1. Status Quo installation, 4 wooden tables, 5 wooden banks, 7 games variable dimensions, 2016 A series of games that try to establish a perspective on the recurrent struggles over the inBluence of power. Proposing a route that crosses from the social history, through coups in the region, to its currency Bluctuations. Games we all daily play in the negotiations on our own strengths.
2. Museo La Ene 2010-‐2016 La Ene was founded in august 2010 and came up as a platform for the critique of the institutional ways in which art is currently produced, legitimized, distributed and marketed. Being the Birst contemporary arts museum in Buenos Aires, La Ene develops a radical intervention on its very environment, renewing the ways in which we see museums while questioning the arguable opposition between alternative and institutional; boosting and promoting a space for critical thought on arts and becoming an open, Blexible, dynamic, expansive and chévere museum. www.laene.org
3. Las Puertas Ink, plastic & tourists, sunken & demolished buildings’ façades of Mexico DF traced in nylon, relocated afterwards in Acapulco hotels. variable dimensions, 2013-‐2015
4. 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
5. 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 protagonist of the developed countries, the image and likeness of the canonical narrative of modernity. However, both constructions fade to Bind 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 Biction, technology and political utopias. Thus, in a Birst 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
6. Availability in Risk Gelatinas de papel de productoras de Tv cable y luces dimensiones variables, 2013
7. The Line, The Cross and The Curve Steel wire, nylon and toilet paper variable dimensions, 2012-‐2013
8. The Stone that Changed Things Collection bills on wood variable dimensions, 2013 The constructions from The Stone that Changed Things, 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 Bigures, 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 Bifty peso bill reclaims the Malvinas [otherwise known as the Falkland Islands] Islands for Argentina.
9. Chinese for Beginners Watercolors on Mao Benzhi paper 21,59 x 35,56 cm, 2010 / 2011 / 2012 Series of 300 drawings are made on traditional Chinese calligraphy paper.
10. Pollo Frito Performance-‐installation to walk through wearing a mask provided at the entrance variable duration, 2011