07/14—11/13/23
Curator
Lara Marmor
Diego Bianchi
Paula Castro
Laura Códega
Nicolás Domínguez Nacif
Roberta Di Paolo
Bruno Dubner
Carlos Herrera
Daniel Leber
Martín Legón
Nicolás Mastracchio
Eduardo Navarro
Gastón Pérsico
Lucía Reissig y
Bernardo Zabalaga
Belén Romero Gunset
Marisa Rubio
Mariana Telleria
Ana Vogelfang
Ana Won
Ana Won
The Brides, 2022
The artist’s collection
Luz y Fuerza (Light and Power) is the name of the union of electrical-energy workers in Argentina as well as of this exhibition that brings together the work of artists who explore the terrain of spirituality in a context marked by uncertainty. Perhaps a symptom of deeper phenomena or perhaps just part of a constellation that surrounds us, bioenergy and coaching have largely replaced psychoanalysis, tofu has gained ground against steak as a dietary staple, and yoga holds its own against calisthenics. Bestseller lists are brimming not only with self-help books but also exhaustive handbooks on the curative powers of magic mushrooms and astrology. Shamans, gurus, and social scientists urge us to recognize and adore Gaia and the Pachamama. How does the set of overlapping beliefs, practices, and often ancestral knowledges that make up the ungraspable substance we might call contemporary spirituality impact on and constitute us? That question is what drives this exploration of artistic practice in a new millennium when ancient Asian and Native American worldviews, meditation, holistic therapies, esotericism, homeopathy, neoshamanism, astrology, and Buddhism form the eclectic and sometimes contradictory fabric in which we live.
In Argentina, the advent of New Age came with the counterculture. It gained ground in the nineteen-nineties to the tunes of Irish singer Enya only to take off in the aughts. New habits tied to discourses that celebrate self-awareness, a healthy lifestyle, and positivity paved the way for a freer experience of desire and pleasure in stark contrast with the guilt, sin, and sacrifice that weigh down Western religious traditions. Personal and social transformation, which pivots between neoliberal individualism and community activism, was now center stage.
Artists born in the nineteen-seventies and through the late eighties are at the core of this exhibition. They are the ones who came onto the art scene in the early aughts. They grew
up in the interval between the end of the dictatorship in 1983 and the fervor in its wake with the election of Raúl Alfonsín. Children on freedom, they experienced the bubble of convertibility when the peso was pegged to the dollar under President Carlos Menem. They hum along to Charly García’s album Parte de la religión (1987) and listen to Babasónicos, a band whose name is an unlikely combination of the words Los Supersónicos (the name of The Jetsons cartoon in Spanish) and the Hindu guru Sai Baba. These artists are heirs to the legacy of the Tao del Arte, a 1997 exhibition curated by Jorge Gumier Maier and held at the Centro Cultural Recoleta. In his curatorial text, Maier looked to Osho and The Tao of Physics by Fritjof Capra to sum up the aesthetic paradigm of the period. But the artists of the aughts were also marked by the economic, social, and political upheaval that shook Argentina in 2001. It would become a key to reading what was happening in the terrain of art. At that juncture, it has been pointed out, artists left behind the cloisters of their studios; they took to the street and started working with what they found there as they opened and ran their own spaces. They gradually left amateurism behind to enter the legions of professional artists. As young people, they experienced the heights of a type of spirituality that appeared, at first, to be alternative. Together, the works in this exhibition interrogate how we are impacted by the crises that, in Argentina, we are so accustomed to but also how, on a global level, socio-environmental collapse has given rise to new forms of activism, like ecofeminism and veganism, and new philosophical turns like plantism. All of that in a context that has, for decades, given off desperate signals of the systemic breakdown of existing political and economic models, as evidenced by phenomena like climate change, the crisis of democracy, and the rise of the new right.
Open to experimentation, the works on exhibit break with the man/nature, rationality/spirituality, body/mind binaries. By means of humor, irony, and the search for a deeper spirituality, they attest to the fact that transformative energy and power are crucial at these times of change.
Laura Códega
Lava Hand, 2022
The artist’s collection
Diego Bianchi engages often clashing variables: sequences of control and lack of control; individual spiritual exercise and its correlate in ruin and social fragmentation; a mannequin’s rigid body and the flexible body of yoga; and going through pain to reach a state of wellbeing. The invitation to Bianchi’s 2010 solo show Ejercicios espirituales featured an image of Sadhu Baba Bharti. For decades, he held his right arm in the air as sign of devotion and for the sake of world peace. Eventually, it became an inert form attached to his body. In that show, pieces of dozens of mannequins and other objects were scattered throughout the gallery. (The work on exhibit here was featured in Ejercicios espirituales.)
The many queries that impelled Bianchi to make those works include whether inner alignment and mystical transcendence are possible in a world that is falling to pieces, and what relationship there is between individual spirituality and the reigning global imbalance.
Diego Bianchi Vadaconasana, 2010 Alejandro Ikonicoff CollectionPaula Castro’s method is characterized by binding manual work and reflection, that is, by combining craft and conceptual procedures. She is interested in the copy and the reproduction. She likes it when everything gets muddled and unsettled, when everything is deformed.
The work on exhibit here is from the series Circulo cromático de marcadores negros [Color Wheel of Black Markers]. In it, the artist uses different types of markers to create her own palette of blacks. Steeped in the discourse of positivity, Castro assembles thumbs-up icons to shape the figure of a human body; the pupils of its eyes are the smiley emoji. There is a dangerous resonance to the aspiration of happiness in the context of an order that offers most of us only dearth, scarcity, and toil, wrote Marcuse.
“Todo re bien, ok [Everything Super, OK] could easily have been called Bienvenidas angustia y ansiedad [Welcome to Angst and Anxiety]” explains the artist. In the end, optimism won out. That does not mean, though, that happiness is not understood as a common disciplinary measure or imperative.
Paula Castro Everything Super, OK, 2018 The artist’s collection
Eager to build her own theory of being on the basis of a sense of religiosity that forms part of her daily life, Laura Códega acknowledges that she has always been drawn to that which lies outside widespread Western culture. “It is possible to believe in so many things in Argentina because we have such a wide system of beliefs… I have always been very curious,” explains the artist. She adds with a laugh, “It must be because Pisces is my rising sign.”
La fuente de los deseos [Wishing Fountain] was created in 2012—the year that, according to the Mayan calendar, the world would come to an end. A request is made of each figure (Monkey, Lion, Baby, and Alien), but first each one’s sphere must be understood. The fountain is activated by spirits drinks: If filled with wine, its interior turns black like the unconscious or providence. The bottles are manifested spirits. When ancient Arab alchemists discovered the process of distillation, they understood that substances exposed to fire release a spirit—they called it al-kuhul—that is transformed into a drink.
Eager to materialize visions, Códega—whose studio in Buenos Aires is located in what was once a spiritualist church—tries to give shape to the spirit that, like a genie, corresponds to each of these bottles.
Laura Códega Manosanta, 2022 The artist’s collectionVisions received in meditative states; images taken from tarot cards and others that appear in dreams—these are among Roberta Di Paolo’s sources. Nature (insects, plants, and minerals) also appears in most of the images she renders on paper. After all, nature is what connects her to a higher state, a place where she experiences herself as in the grips of a force, impulse, or creative current. Unfettered by notions of mimesis and technique, she identifies as part of a myriad of spiritual traditions that see art as a channel through which to reach hidden dimensions or aspects of our being. She is fascinated by graphite; she understands black and white as the basis for an endless spectrum of grays that moves between dark and light, life and death, day and night. What Di Paolo’s synthetic drawings laden with symbols capture is not urban alienation but the power and sensibility of the natural environment.
Roberta Di paolo Nature Cooperates, 2020 The artist’s collection
How to modify our awareness and perception? Nicolás Domínguez Nacif has studied astrology, anthroposophy, and other ancient and esoteric forms of knowledge. Crucial points of reference and companions throughout Domínguez Nacif’s life include Florencia Bohtlingk and Alfredo Londaibere, artists for whom spirituality and nature are pillars. Like much of Domínguez Nacif’s work, his hypnotic Aurora acts as a fractal gateway to the experience of ecstasy. While in a trance, the artist made paintings using inks from autochthonous jungle vegetation. The maker of complex geometric constructions, he has investigated the therapeutic properties of color. He is also a serious interpreter of occult tales and symbols that have been overlooked or even annihilated by the Western narrative. A mystic as well as an artist, he studies the subtle worlds of the animal kingdom and their revelatory power.
Nicolás Domínguez Nacif Aurora, 2014 Maitena collectionBruno Dubner photographs images of last names displayed on plaques, shop windows, and signs in Buenos Aires neighborhoods (Balvanera, Barrio Norte, and Once). Due to his interest in the abstract nature of the image, the photographic language in these works is rife with questions of a spiritual order.
Regarding this series, the artist states, “It is evident, but unspoken, that all the last names are Jewish. In these photographs, the word comes before the image. Without visual representation, the spiritual lies in the abstraction that surrounds everything. We live in an image-less space. Everything that there is bears a question about why it is— nothing is taken for granted. The spiritual is here. What lies beyond cannot be photographed.”
Bruno DubnerFrom the serie “Untitled”, 2012-2013
Colección del artista
After turning his back on the religion into which he was born, Carlos Herrera devised his own scene of faith that revolves around dedication, the serenity of ecstasy, sexual fervor, and the body of another, a body that oscillates between life and death.
The pieces on exhibit here make reference to the crown, a Catholic symbol of physical loss. To make these works, Herrera, son of a floriculturist, used Ikebana, a Japanese flower-arranging technique that dates back to the advent of Buddhism in Japan. Starting then, flower offerings were placed at altars in Japan to represent harmony between the heavens, the earth, and the human.
Herrera brings together an array of traditions to engage the relationship between physical and spiritual dimensions, between the mundane world and the great beyond. He finds the precise spot where spirituality and sexuality intersect.
Carlos Herrera
Untitled, 2016
6 pieces from the serie "Destitution Bird"
The artist’s collection
Daniel Leber The Basket with Golden Eggs, 2022 The artist’s collection
Daniel Leber builds his unique worldview from the symbology of an array of spiritual cultures. From his many notebooks of automatic drawings, he chooses which motifs he will render geometric in works on canvas and paper. After painting, he often writes something concise about his experience of making a given piece.
The following words written to accompany the work Unum est vas describe Leber’s position, which is not without conflict, on life and contemporary good intentions: “What use are your stones, your incense, you historical materialism, your health shakes, your yoga, your poetry workshops, your ayurveda, your mantras, your astral projections, your political struggles, your Egyptian tarot deck, your Tibetan singing bowls, your marches, your crystals, your indignant posts, your reiki, your healing plants, your sacred geometry, your critical readings, your online shaming, your healing gongs, your tai chi, your deconstructed preferences, your counterhegemonic babbling, your Tao? What use is all that if you don’t even realize that your neck itches and you are scratching it?
I like my mystical trip. Raw, barely cooked, artisanal, rustic and polished, sabotaged time and again.”
“These works consist of original advertisements featuring generic photos where the notion of ‘art’ as epiphany of emotional stability is heightened, sometimes to the point of parody. I guess the works end up dealing with questions about the world we live in, a world brimming with anxiety, insomnia, and depression because of social extractivism and its dehumanized model. The fleetingness of our relationships makes it impossible to envision a shared future. We are frustrated because immersed in precarity, both spiritual and economic. If we don’t grapple with mental illness in the strictest sense— and mental illness does exist, but its cure does not lie in painting or playing the piano in nature—all we are left with is the crude approach of a brand or a mood-altering laboratory drug as source of a magic panacea,” explains Martín Legón. His work is particularly relevant to those who live in cities where the supply of products and activities related to spiritual and physical health grows apace with the more and more crushing demands of contemporary life.
Martín LegónUntitled, 2021
From the series “Deeply Artificial Trees"
The artist’s collection
Nicolás Mastracchio embodies the figure of the spiritual searcher. His work Diario [Diary] is the result of the intersection between artists’ critiques, where the influence of psychoanalysis makes itself felt, and astrology as tool for selfknowledge. In this piece, the artist channels the emotional ups and downs he experienced during a personal crisis. Regarding the context in which the work was produced, Mastracchio recalls, “It was a moment of introspection, fear, and disappointment. Diario is fruit of my first months in the Beca Kuitca in 2010. Guillermo [Kuitca] had urged greater clarity and commitment. Today I see this work as part of a psychological process I undertook around selfesteem and acceptance. That is not how he put it, but it was how I experienced it. Twenty-ten was also the year I started studying astrology formally; the video’s text and narrative make close reference to the concepts that reign Pisces. The format of the work partakes of self-help. It attempts to help others by sharing what I was going through bluntly, but with humor, to arouse the empathy of the audience—but all of that in a tone of voice of the sort used to speak from a podium, or in a sanctuary or church.”
Página anterior:
Nicolás Mastracchio Diary, 2010
The artist’s collection
Eduardo Navarro investigates ways of engaging natural phenomena, exploring the blurry line that defines us as human beings. In his search for a new language of empathy, he has created works in a wide range of media. In Tratamiento homeopático para el Río de la Plata (2013) [Homeopathic Treatment for Río de la Plata], he devised a treatment to restore the health of the river. In Hydro-Hexagrams (2017), he used ocean waves as an oracle for the I-Ching and asked questions of the sea. In Octopia (2016), he summoned the energy of a dried octopus formed by eighty dancers in a trance.
The drawings on exhibit here are fruit of listening to his body with a stethoscope while walking around New York. These images originate in an intuitive process designed to channel the city’s energy and mix layers of sound information that clustered and vibrated in his body. As the artist says, “I think that any sound contains an image; the body is like a record album on which sound information is engraved. Even if you never listen to it, it is there, waiting to be released and reverberate like an inner echo.”
Página siguiente: Eduardo Navarro Images Found by a Stethoscope in the Hidden Sounds of a City Called Body, 2023 The artist’s collection
In 2006, on the occasion of the launch of Heavy Mental Records, Gastón Pérsico was interviewed by No, the youth-culture supplements to Página/12 newspaper that began as a counterpart to Clarín newspaper’s Sí! supplement. For the record album, Pérsico had invited heavy-metal bands like Insurrección and Sacred Trash to set to music lyrics he had written by splicing together texts by Bataille, Deleuze and Guattari, and Foucault. In the interview, Pérsico explains, “While heavy metal is a marginal subculture, it is also massive in scale. That duality is also at play with philosophy, which is the highest level of thought, on the one hand, and yet a philosopher is a marginal figure within Western culture. In both cases, there are specific signs of identity and belonging to a community.”
The work on exhibit here is part of the Heavy Mental series that crosses philosophy and heavy-metal music. The objects in the series include—among other things—T-shirts, posters, sculptures, and a record album. Pérsico’s idea was to bring together two universes presented as opposites, where philosophers and self-help authors clash amidst studs and fake leather.
Gastón Pérsico Heavy Mental: Apocryphal Library (remastered), 2005-2023 The artist’s collection
The creatures created by Lucía Reissig and Bernardo Zabalaga invite contact. Though their morphology is dubious, they somehow seem familiar; they suggest a relational understanding of the world. These pieces are a cross between pet and transitional object, a place to take shelter and rest. Living and moving sculptures, they arouse a sense of familiarity, coexistence, and mutual parenting; they take care of us and are taken care of by us in a bodily exchange that goes beyond the subject/object, self/other dichotomies. Permeability refers to a material’s ability to let a fluid flow through it without altering its inner structure. And permeability is one of these creatures’ vital traits. Indeed, it is crucial to all of Zabalaga and Reissig’s work, which generates experiences of mutual care and healing as a form of spirituality.
In 2008, Belén Romero Gunset and Soledad Alastuey formed Pan Duro, a performatic duo. Together, they produced works like La Piedra [The Stone] and the eco-feminist video Contamina II [Polluted], where they sing a song in support of sustainability and against the carelessness and idiocy of “boys.” In 2014, she produced Perfektópolis, a work that looks to utopian nudist and vegan communities as well as the Frankfurt School to formulate the bases for what, in her view, would be a perfect society.
The paintings on exhibit here were produced later. She created them as a visual platform to communicate Método S1, a method to conquer joy organized around instructions regarding geometry and color and built on the basis of some ideas of Baruch Spinoza’s. Romero Gunset believes that smilies and emoticons can be understood as pagan symbols, and her method a contemporary rite.
Belén Romero Gunset
My Perseverance is a Yellow Triangle: Musical Score for Action, 2015 The artist’s collection
Helena Líndelen is an artist who teaches mandala making. In late 2009, she launched an in-person mandala workshop, and in 2012 online class. For the online classes, she developed the teaching method described in her Manual de enseñanza del arte del Mandala [Mandala Making Instruction Handbook] and in her classes via e-mail. Líndelen’s work is featured in Teoría del quehacer actoral cotidiano para intérpretes [Theory for Performers in Daily Life] developed by Naranja Milano Questa. The theory explores performance before an audience that is not aware it is an audience. The characters are Helena Líndelen, Clara Smart, Javier Lesa, El mendigo, and Naranja Milano Questa herself. Each one of them has documented their performances in online publications, mostly Facebook posts, thanks to the historical moment that witnessed the larger project, created by artist Marisa Rubio from 2008 to 2018.
Marisa Rubio
Helena Líndelen.
From the project “Theory for Performers in Daily Life", 2017 Oxenford Collection
In November 2019, Mariana Telleria posted on Instagram images of a TV screen showing a ranking of beliefs. It appears that, from 2008 to 2019, belief in astrology grew over seven points and in energy over ten points, while belief in God, the Virgin Mary, Jesus, and the saints had fallen considerably. One artist who saw the post wrote her a message: “Astrology and the Devil rose together. Long live the witches!” Another wrote, “I am going to start working for elfology.”
In her work, Telleria reveals, subverts, and transforms reality in unsuspected ways. She describes her practice as the inevitable act of seeking, inferring, and finding forms within other forms or a story hidden amidst things. Regarding the work on exhibit here, she states, “Performing geometric operations on any surface whatsoever, which I tend to do, is an exercise intuitive at times and, at others, Cartesian in its rationalism. My interest lies more in jokes than in truths.”
Página anterior: Mariana Telleria
Untitled. From the series “God Believes in Me", 2012 Courtesy of the artist and Ruth Benzacar Galería de Arte
For the Jewish people, shoes perform a number of symbolic functions. After a death, mourners must remain in stocking feet or at least avoid leather shoes. Wearing the shoes of the dead is forbidden.
There are different interpretation of why, and artist Ana Vogelfang offers one: “A section of the Talmud on the interpretation of dreams says that dreaming about a dead person who returns to take off your shoes is a bad omen: Your time has come. Since we dream at night what we think during the day, if we don’t want to create our own death sentence, we should not wear the shoes of someone who has died. Because if there is one thing our dead are capable of, it is spying on dreams. If they see us walking around in their shoes, they might get the idea of coming back for them, and so they could take us—shoes and all—over to the other side!”
Página siguiente: Ana Vogelfang
Unto a Land that I Will Show Thee I y II, 2018
The artist’s collection
Ana Won’s works vertiginously combine divergent materialities, languages, and traditions to bring forth the unknown. Won forms part of an extensive genealogy of artists who understands its practice as having all the transformative power of magic and alchemy. To create her works, she engages in deep meditation or even goes into a trance. Since the time she was young, Ana has imbued Catholic teachings as well as the Native culture of the Indigenous peoples of northeastern Argentina, where she lives and works. Those influence are at play when she gives shape to new entities that, according to the artist, are rich in mystical energy.
Vadaconasana, 2010 Cement, plastic, wood, sportswear, styrofoam, polyurethane
Alejandro Ikonicoff Collection
PAULA CASTRO
Everything Super, OK, 2018
Black felt pen and India ink on paper
The artist’s collection
LAURA CÓDEGA
The Source of Desires, 2012
Ceramic
The artist’s collection
Aristocrat, 2022
Bottle, wool, paint, feathers, and papiermâché
The artist’s collection
John Barleycorn, 2022
Bottle, wicker, paint, fork, and matches
The artist’s collection
Lava Hand, 2022
Bottle, papier-mâché, match box, paint, chain, and lockets
The artist’s collection
Manosanta, 2022
Bottle, wicker, papiermâché, paint, canvas, cross, cork, and coins
Water Before Fire #21, 2019
Graphite on paper
The artist’s collection
Water Before Fire #41], 2019
Graphite on paper
The artist’s collection
Water Before Fire #81, 2019
Graphite on paper
The artist’s collection
Water Before Fire #82, 2019
Graphite on paper
The artist’s collection
Ace of Cups, 2020
Graphite on paper
The artist’s collection
Harvest (Fate), 2020
Graphite and colored pencil on paper
The artist’s collection
Nature Cooperates, 2020
Graphite on paper
The artist’s collection
Psyche, 2020
Graphite and colored pencil on paper
The artist’s collection
Tarantula or Tangle, 2020
Graphite on paper
The artist’s collection
A Pearl Necklace, 2020
Graphite and colored pencil on paper
The artist’s collection
Two Drops (First Apparition of Water Springs)], 2021 Graphite and colored pencil on paper
The artist’s collection
The Vibration of Color, 2021
Graphite and colored pencil on paper
The artist’s collection
Bacteria, 2021
Graphite on paper
The artist’s collection
If Iris Laughs, 2021
Graphite and colored pencil on paper
The artist’s collection
Androgynous, 2022 Graphite and colored pencil on paper
The artist’s collection
Being from Venus], 2022 Graphite and colored pencil on paper
The artist’s collection
NICOLÁS DOMÍNGUEZ NACIF
Lilith, 2003
Watercolor on paper
Orly Benzacar Collection
Aurora, 2014
Oil on canvas
Maitena collection
Crystals, 2012
Oil on wood
Private collection
Michael, 2012
Oil on wood
The artist’s collection
Tonantzin, 2012
Oil on wood
The artist’s collection
BRUNO DUBNER
Benzacar, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Frumkin, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Gluck, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Grynberg, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Heller, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Saidman, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
Sterzovsky, 2012-2013
C-Print
Ed. 1/3 + 2 A/P
The artist’s collection
CARLOS HERRERA
Untitled, 2016
6 pieces from the serie
"Destitution Bird"
Hanging sculpture
Hay and various materials
The artist’s collection
DANIEL LEBER
Untitled, 2019
Collage on paper
The artist’s collection
Nocturnal, 2021 Tempera on paper
The artist’s collection
Bus, 2022 Collage and mixed media on paper floating999 Collection
The Forking Paths], 2022 Collage and mixed media on paper floating999 Collection
Camping, 2022 Collage and mixed media on paper
The artist’s collection
Structure, 2022 Collage and mixed media on paper
The artist’s collection
Urn, 2022 Collage and mixed media on paper
The artist’s collection
The Basket with Golden Eggs, 2022 Collage and mixed media on paper
The artist’s collection
Obleas, 2022 Collage and mixed media on paper floating999 Collection
Snake, 2022 Collage and mixed media on paper
The artist’s collection
Surveillance, 2022 Collage and mixed media on paper floating999 Collection
NICOLÁS MASTRACCHIO
Diary, 2010
Video, sound
2 minutes, 50 seconds.
3 + 1 A/P
The artist’s collection
MARTÍN LEGÓN
Untitled, 2021 From the series
“Deeply Artificial Trees" Advertisements for Bagó laboratories in aluminum frames (diptych)
The artist’s collection
EDUARDO NAVARRO
Images Found by a Stethoscope in the Hidden Sounds of a City Called Body, 2023
Pencil on paper
The artist’s collection
GASTÓN PÉRSICO
Heavy Mental: Apocryphal Library (remastered), 2005-2023
Wooden structure, imitation leather, tacks, and self-help books with philosophy-book covers The artist’s collection
LUCÍA REISSIG, BERNARDO ZABALAGA
Creatures, 2023
Activation – Performatic Ritual
The artists’ collection
BELÉN ROMERO GUNSET
My Perseverance is a Yellow Triangle: Musical Score for Action, 2015
Acrylic paint on canvas with metal rods and epoxy putty. Ed. 1/6
The artist’s collection
My Perseverance is a Yellow Triangle: Musical Score for Action, 2015
Acrylic paint on canvas with metal rods and epoxy putty. Ed. 2/6
The artist’s collection
My Perseverance is a Yellow Triangle: Musical Score for Action], 2015 Acrylic paint on canvas with metal rods and epoxy putty. Ed. 4/6
Alejandro Ikonicoff Collection
MARISA RUBIO (HELENA LINDELEN)
Helena Líndelen. From the project “Theory for Performers in Daily Life", 2017
Color photograph
Oxenford Collection
#35, 2012
From the series “Helena Líndelen’s Mandalas"
Ink and watercolor pencil on paper
Oxenford Collection
#38, 2012
From the series “Helen
Líndelen’s Mandalas"
Ink and watercolor pencil on paper
Oxenford Collection
#42, 2014
From the series “Helena Líndelen’s Mandalas"
Ink and watercolor pencil on paper
Oxenford Collection
MARIANA TELLERIA
Untitled. From the series “God Believes in Me", 2012
Necklaces arranged in the shape of lockets
Courtesy of the artist and Ruth Benzacar
Galería de Arte
ANA VOGELFANG
Unto a Land that I Will Show Thee VI, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee VII, 2018 Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee VIII, 2018 Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee IX, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee X, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee I and II, 2018 Acrylic paint and fur on shoe
Oxenford Collection
Unto a Land that I Will Show Thee III, 2018 Acrylic paint and fur on shoe
Oxenford Collection
Unto a Land that I Will Show Thee IV, 2018
Acrylic paint and fur on shoe
Oxenford Collection
Unto a Land that I Will Show Thee V, 2018
Acrylic paint and fur on shoe
Oxenford Collection
Unto a Land that I Will Show Thee XI, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee XII, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee XIII, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee XIV, 2018
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee XV, 2023
Acrylic paint and fur on shoe
The artist’s collection
Unto a Land that I Will Show Thee XVI, 2023
Acrylic paint and fur on shoe
The artist’s collection
ANA WON
The Brides, 2022
Carved and polished wood, iron, glazed ceramic, oil paint, and pastel
The artist’s collection
Utter His Name into the Night, 2023
Carved and polished wood, iron, glazed ceramic, thread, oil paint, and pastel on canvas
The artist’s collection
Lara Marmor
The curator thanks Nicolás Viotti for his generous collaboration in understanding the complexity of contemporary religiosity, the friends who accompanied the research, the artists and the entire museum team. To Lola, Rebeca and Carlos.