Artists: Roberto Aizenberg, Nicanor Araoz, Marcela Astorga, Hugo Aveta, Nicolás Bacal, Ernesto Ballesteros, Eduardo Tomás Basualdo, Diego Bianchi, Joaquín Boz, Marcelo Brodsky, Eugenia Calvo, Gabriel Chaile, Nicola Costantino, Ariel Cusnir, Julián D’Angiolillo, Flavia Da Rin, Marina De Caro, Andrés Denegri, Mirtha Dermisache, Sebastián Diaz Morales, Matías Duville, Leandro Erlich, Tomás Espina & Martin Cordiano, León Ferrari, Ana Gallardo, Alberto Goldenstein, Gabriela Golder, Max Gómez Canle, Sebastián Gordin, Jorge Gumier Maier, Luján Fúnes, Graciela Hasper, Carlos Herrera, Carlos Huffmann, Roberto Jacoby, Magdalena Jitrik, Fabio Kacero, Guillermo Kuitca, Fernanda Laguna, Luciana Lamothe, José Luis Landet, Martín Legón, Catalina León, Donjo León, Marcos López, Jorge Macchi, Adriana Minoliti, Marta Minujín with Mark Brusse, Guillermina Mongan, Margarita Paksa, Esteban Pastorino, Marcelo Pombo, Santiago Porter, “Middle School Liliana Maresca Project” (Lorena Bossi, Ariel Cusnir, Sebastián Friedman, Leandro Tartaglia, Dani Zelko) with the students of highschool n°44 of La Cava de Fiorito, Pablo Reinoso, Marisa Rubio, Mariela Scafati, Pablo Siquier, Elisa Strada, Eduardo Stupía, Pablo Suárez, Luis Terán, Valeria Vilar, and Adrián Villar Rojas.

My Buenos Aires
June 20 – September 20, 2015
Maison Rouge
Buenos Aires, Argentina

My Buenos Aires at la maison rouge continues a series of exhibitions that showcases the art scene in cities worldwide. The series was launched in summer 2011 with Winnipeg, Canada, followed in 2013 by Johannesburg, South Africa. Some regret what they see as a “standardized” art world, laying the blame at globalization’s door, and so this seemed the opportune moment to look at centres of creativity which, though out of the spotlight, enjoy a thriving art scene of works infused with the city, its territory, history and myths.

Buenos Aires, a mystery reinvented

A mirror city, established twice (in 1536 and then again in 1580), “Our Lady of the Fair Winds” stands on Río de la Plata, the “silver river” that gave the country its name. Buenos Aires extends over two hundred square kilometres and is home to three million porteños (“port-dwellers” in Spanish). The Greater Buenos Aires conurbation has a population of fifteen and a half million, making it Latin America’s third most-populated agglomeration after Mexico City and São Paulo.

Described by Malraux as “the capital of an empire that never existed”, Buenos Aires fuels many fantasies. The mere mention of tango or beef, of Borges or Maradona, of Argentinean beauties will plunge anyone, even someone who has never set foot in the city, into dreamy nostalgia.

The visual and cultural familiarity that greets a European visitor can disappoint those in search of instant exoticism and pre-packaged emotions. Yet this is precisely where its power of seduction lies; in the (un)acquaintance of what we find when we peel away the masks of this tentacular city, which in 1914 was home to as many immigrants as Argentineans and where still today 40% of its residents were born elsewhere.

Buenos Aires is a child of immigration, whether voluntary or forced; a city haunted by absence. To live there is to accept estrangement and to overcome loss. Hardly surprisingly then, Buenos Aires shares New York’s love of psychoanalysis, and has one therapist for 120 inhabitants.

Seductive, Buenos Aires is no less sombre. It bears the stigmata of violence endured, of uprooting, dictatorship and the mourning of the many disappearances including, since the financial and economic crisis of 2001, that of its own image as a “major European power” that would inexplicably have alighted on the American continent.

The public protests that arose following the 2001 crisis have shown a capacity for counterpower that has no equivalent in the history of modern nations. Even in the throes of crisis, strikes and the pillaging of recent decades, Argentineans continue to wield sarcasm, dark humour and irony as a remedy against resignation.

A chameleon city, Buenos Aires comes with all the accoutrements of a modern conurbation – urban violence, air and noise pollution – yet behind the jacarandas that line its avenues it conserves the extraordinary capacity to reinvent itself and to reveal, unabashedly and sometimes even brutally, the pressing need to live better.

An artistic community that stand together

Authors and actors from all disciplines have in them this extraordinary and also determined capacity for reinvention. In the visual arts, decades of crisis and “getting by” have at least forged a community of artists who, irrespective of rivalries and conflicting views, face adversity as one.

Artists have responded to the lack of infrastructures and learning opportunities by throwing open their studios, hosting charlas (group discussions) where ideas can be brought out into the open. Those who do manage to enter the global art market willingly put their own money into supporting local creation. The grant endowed by painter Guillermo Kuitca, for example, gave an entire generation of artists between 1991 and 2011 access to a studio, and to critical and technical support with which to develop their work. Bola de nieve (“snowball”), a free website set up in 2005 by Ramona magazine, is a database of images where each artist invites another, thereby forming an endless chain. 1,135 artists now show their work there. In a similar spirit, an artist might often recommend visiting another artist’s studio, even when this means putting off visits to his or her own studio to another day.

A compelling movement

In the space of a few years, the map of Buenos Aires contemporary art has undergone substantial transformation to become more evenly spread between the city’s various neighbourhoods. Little by little, the art scene is moving away from the centre. Ruth Benzacar’s gallery, now in its fiftieth year, is leaving the historic Calle Florida for new premises west of the Palermo neighbourhood. New venues are opening in the north, such as Hotel de Inmigrantes. Further north still, the Haroldo Conti Memorial Cultural Centre includes a sculpture park that pays tribute to the men and women who disappeared during the dictatorship, and a cultural centre showing contemporary art. Di Tella, a private university with a famous past, launched an experimental research programme in 2010 under the directorship of the historian and curator Inés Katzenstein. To the south of the city, new director Victoria Noorthoorn is revolutionising the Buenos Aires Modern Art Museum (MAMBA).

The microcentro remains the city’s nerve centre at the heart of its history, and is still the site of numerous art venues, including the Fundación Osde, and galleries. The disgruntled still march on Plaza de Mayo while artists have begun to install works under the obelisk. This reconfiguration of Buenos Aires’ art venues symbolises a city that is gaining momentum, spreading its wings ready to fly. The direction it will take remains to be seen.

Cultural Policy

The city’s Culture Department is behind a number of initiatives which support this quality cultural provision.

The Patronage Law has forged stronger ties between business and the worlds of art and culture by encouraging the private sector to become involved with projects of cultural significance for the city. In a similar vein, thanks to the creation and development of the city’s southern zone (Polo Sur), artists have been able to revive parts of Buenos Aires which for decades languished outside the main exhibition circuits. Initiatives such as the arts district (Distrito de las Artes), the art factory (Usina del Arte), and numerous theatres, cultural centres and exhibition spaces have breathed new life into the south of the city whose industrial landscape now offers something new.

For several years, the successful Tandem programme has enabled art and culture taking place in Buenos Aires to resonate with comparable projects in other capital cities around the world, including Madrid, Amsterdam, Medellín and Paris.

Taking art into public spaces, installing sculptures in the city’s squares, organising open-air performances, launching new circuits such as in Calle Florida or the Borges Xul Solar walking tour… these and other initiatives illustrate the fusion between tradition and modernity, and show how new generations are embracing the city and its mythology.

My Buenos Aires, the exhibition

My Buenos Aires runs counter to the romantic vision of Buenos Aires. Paula Aisemberg and Albertine de Galbert seek to offer visitors to la maison rouge neither a portrait of the city nor a “who’s who” of Argentinean artists, but rather a sensation, an experience of the dynamics at work in the Argentine capital.

The exhibition moves back and forth between political and private, public space, the domestic and the unconscious, exploring themes such as instability, tension and explosion, masks, encryption and the strange.

Along their way, visitors will encounter remnants of facades, mutant scaffoldings, car bonnets, motorway junctions, burned-out houses and headless statues. They will decipher coded languages to the gentle sway of the music rising from the city and the whir of fans. When night falls, they can settle onto an old sofa and listen to a raspy tango, pick their way through the patched-up ruins of a kitchen that’s acting as though nothing was wrong, or study their reflection in the black ink of a white marble basin. They will sink into a waking dream inhabited by strangely unnerving doubles and faceless people falling from the sky, only to wake in the muffled folds of a stucco wedding cake.

With more than sixty artists working in all media, from installation to painting, sculpture, video and photography, four generations are represented. Established names such as León Ferrari, Guillermo Kuitca or Jorge Macchi will join others to be discovered. More than 15 of them will travel to Paris to work on in situ installations.

My Buenos Aires is an invitation to plunge into the mystery of Buenos Aires without attempting to resolve it, and to experience the unsettling strangeness of its multiple personalities.

• Happenings

Artists: Mira Schendel, Liliana Porter, Antônio Dias, Luis Camnitzer, Anna Maria Maiolino, Guillermo Deisler, Nelson Leirner, Margarita Paksa, Marta Minujín, Helio Oiticica, Ana Mendieta, Guillermo Kuitca, Julio Galán, Marcia Schvartz, Pepe Fernández (José María Fernández), Pablo Suárez, José Bedia Valdés, Marcelo Pombo, Alejandra Seeber, Liliana Porter, Liliana Maresca, Sergio Avello, Feliciano Centurión, Omar Schilliro, Andrés Toro, Los Carpinteros, Allora & Calzadilla, León Ferrari, Jorge Gumier Maier, Jorge Macchi, Mondongo, Anna María Maioilino, Artur Lescher, Waltercio Caldas, Iran do Espirito Santo, Mariano Dal Verme, Ramsés Larzábal, Lucio Dorr, Oscar Bony, Tomás Saraceno, Fabio Kacero, Leo Battistelli, Artur Lescher, Daniel Joglar, Tomás Espina, Víctor Grippo, Ernesto Neto, Alfredo Jaar, Fernando Brizuela, Adriana Bustos, Tomás Espina, Oscar Muñoz, Alejandro Cesarco, Víctor Grippo, Cristina Piffer, Francis Alÿs, José Carlos Martinat, León Ferrari, Miguel Angel Ríos, Fernando Bryce, María Teresa Ponce, Colectivo Sociedad Civil, Matías Duville, Eduardo Stupía, Pablo Siquier, Gachi Hasper, Cristina Schiavi, Mónica Giron y Gabriel Baggio.

Encuentros / Tensiones. Arte latinoamericano contemporáneo. Colección Malba + Comodatos
October 18 – February 10, 2014
Museo de Arte Latinoamericano de Buenos Aires
Buenos Aires, Argentina

Un nuevo recorrido por el arte latinoamericano contemporáneo, a través de una selección de más de 100 obras pertenecientes al acervo del museo y un conjunto de comodatos. Se incluyen pinturas, dibujos, objetos, instalaciones y videos de 60 destacados artistas latinoamericanos.

Encuentros /Tensiones está organizada en siete núcleos, reunidos por afinidades temáticas y formales. Se inicia con una serie de piezas centrales del conceptualismo latinoamericano de fines de los años 60 –que retoma la cronología de la puesta actual de la colección permanente- y llega hasta nuestros días.

En el marco de esta exposición, Malba presenta la incorporación de seis nuevas piezas a su patrimonio de los artistas Ana Mendieta (Cuba) Ernesto Neto (Brasil), Oscar Muñoz (Colombia), Alfredo Hlito (Argentina, en la sala 2 del primer piso), Pablo Suárez (Argentina) y la dupla Jennifer Allora & Guillermo Calzadilla (Puerto Rico), gracias a las compras y donaciones gestionadas por el Comité de Adquisiciones.

Con Encuentros /Tensiones, Malba ratifica su misión de coleccionar, conservar, estudiar y difundir el arte latinoamericano desde principios del siglo XX hasta la actualidad. “Reafirmamos el compromiso del museo con la promoción del arte de la región, a través de la constante ampliación del acervo y de la exhibición y puesta en valor de los principales artistas de la región”, afirma Eduardo F. Costantini, fundador y presidente de Malba.

Encuentros / Tensiones

Los debates actuales sobre el arte contemporáneo ponen en tensión las relaciones entre lo local y lo universal. Hoy se considera obsoleta la noción eurocéntrica del arte y se habla de un quiebre del proyecto de globalización, acentuándose los rasgos de regionalidad cultural. En relación a la producción artística, América Latina es una región con características que la identifican, pero también con culturas locales bien definidas.

El espacio de la exposición fue organizado según ejes conceptuales, puntos de contacto, pero también según tensiones o discordancias entre el inicio del arte contemporáneo latinoamericano y el arte actual, y entre postulados artísticos diversos. Se intenta mostrar las continuidades o herencias, pero también las dislocaciones, controversias, reacciones y cambios.

Núcleos y artistas

Conceptualismos – Mira Schendel, Liliana Porter, Antônio Dias, Luis Camnitzer, Anna Maria Maiolino, Guillermo Deisler, Nelson Leirner, Margarita Paksa, Marta Minujín, Helio Oiticica, Ana Mendieta

Los años 80, el posmodernismo – Guillermo Kuitca, Julio Galán, Marcia Schvartz, Pepe Fernández (José María Fernández), Pablo Suárez, José Bedia Valdés

Neo Dadá – Marcelo Pombo, Alejandra Seeber, Liliana Porter, Liliana Maresca, Sergio Avello, Feliciano Centurión, Omar Schilliro, Andrés Toro, Los Carpinteros, Allora & Calzadilla, León Ferrari, Jorge Gumier Maier, Jorge Macchi, Mondongo

Nuevos minimal – Anna María Maioilino, Artur Lescher, Waltercio Caldas, Iran do Espirito Santo, Mariano Dal Verme, Ramsés Larzábal, Lucio Dorr, Oscar Bony, Tomás Saraceno, Fabio Kacero

Transformación de la materia – Leo Battistelli, Artur Lescher, Daniel Joglar, Tomás Espina, Víctor Grippo, Ernesto Neto

Violencias – Alfredo Jaar, Fernando Brizuela, Adriana Bustos, Tomás Espina, Oscar Muñoz, Alejandro Cesarco, Víctor Grippo

Geopolítica – Cristina Piffer, Francis Alÿs, José Carlos Martinat, León Ferrari, Miguel Angel Ríos, Fernando Bryce, María Teresa Ponce, Colectivo Sociedad Civil

También se exhibirán en la galería del segundo piso piezas de los artistas Matías Duville, Eduardo Stupía, Pablo Siquier, Gachi Hasper, Cristina Schiavi, Mónica Giron y Gabriel Baggio

• Happenings

Pablo Siquier: Contracture
December 2, 2013 – February 8, 2014
Alejandra von Hartz Gallery
Miami, FL, USA

Alejandra von Hartz Gallery is very pleased to present the solo exhibition, “Contracture” by Pablo Siquier. This is the artist second solo exhibition with the Gallery and will feature a mural and drawings on paper, part of a series of large scale charcoal drawings designed with a vector 3D program and realized by hand directly on the wall. The show runs from December 2, 2013 to February.

Part of a generation of artists that emerged in Buenos Aires at the end of ‘80s, Pablo Siquier’s work resists historical context and interpretation. His abstract black and white canvases and drawings remain silent, even as they evoke the rhythms of the city and subtly reference architectural ornament. In his work, Siquier explores the tensions between perfect and imperfect media. After years of precise schematic drawings with rulers and compasses, he uses computer software to design his intricate compositions. Once they are designed, he creates them on paper or canvases with charcoal or paint; they are at once hand-made and machine-influenced. The hyper precise and exact designs are finally executed with a primitive and incorrect tool. Although, in appearance, ultra perfect, the works challenge our perception and reveal an inherent and disquieting tension, the total opposite of fluidity.

Born in Buenos Aires, Siquier studied at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. In 1997, he co-founded the artist collective “Grupo de la X”, which was connected to the famous Madí artist Enio Iommi. From 1989-1993, he began to restrict his palette, and he developed geometric zed shapes inspired by architectural motifs and ornaments. In 1993, he abandoned color and began a series of abstract paintings and drawings in black and white.

In 1995, he participated in the exhibitions “Mesótica” and “Transatlántica”, curated by Carlos Basualdo at the Museum of Contemporary Art and Design, San José de Costa Rica, and the Alejandro Otero Museum of Visual Arts, Caracas, respectively. Also participated in “Space of Time”, curated by Sandra Antelo Suarez and Alisa Tager at the Americas Society, New York, and in “Slow Paintings”, Museum Morsbroich, Leverkusen, Alemania (2009).

In his most recent work, Siquier leaves behind the canvas to work directly on the walls of galleries and museums; drawings and installations that operate with the illusion and real perception of space. Via computer generated drawings transferred onto gigantic printed surfaces, these installations appear to erase the borders between painting and the real world. He has created murals at the Los Molinos Building at Puerto Madero in Buenos Aires. Other murals are at the Carlos Pellegrini Subway Station and Centro Cultural General San Martin, both in Buenos Aires City. He represented Argentina at the 3rd Cuenca Biennial, at the 1st and 2nd Porto Alegre Biennial, at the 9th Habana Biennial, and at the 26th São Paulo Biennial. Siquier had major solo exhibitions at the Museo Nacional de Bellas Artes in Buenos Aires and the Museo Nacional Centro de Arte Reina Sofía in Madrid. His work is included in many public and private collections, including the Museo Nacional de Arte Reina Sofía, Madrid; Museo de Arte Moderno de Buenos Aires; Jack S. Blanton Museum of Art, Austin; Museo de Arte Contemporáneo de Rosario (MACRO); and the Museo de Arte Latinoamericano de Buenos Aires (MALBA). Pablo Siquier lives and works in Buenos Aires, Argentina.

Click here to view Pablo Siquier on Abstraction in Action.

• Happenings

Geometría al límite
December 14, 2013 – March 14, 2014
MACBA
Buenos Aires, Argentina

MACBA aims to generate new approaches to current geometric abstraction with works from its permanent collection. The exhibition invites us to observe and reflect on the production of twenty-five artists who have developed their lines of researches with intensity from the 90s to present day in Argentina.

In this exhibition some of the artists use industrial materials to investigate on their technical possibilities. They use leds, car paint, adhesive scotch tapes, magnets and tarpaulin as a medium, coexisting with works made with traditional techniques such as oil painting, acrylic and silkscreen, revisited from a contemporary perspective.

On the other hand, some artists reflect on architecture and urban life, and link the experience of “inhabiting” a city with the abstract language through large format works. In the works we find explicit references to speed, spatial representational systems and the experience of living in the cities.

Many of these artists are turning to technology as subject and also as a tool in their production, both present in the process and final result of their artworks. They are torn between the digital and the analog world, reflecting the importance of information in contemporary society.

Some of these artists investigate on the pure form of art, revealing the properties of color. Among these, we find the kinetic qualities, tonal contrasts, the intensity of pigments and vibration, and even their emotional and psychological connotations.

Geometría al límite shows clearly the multiple visual and conceptual possibilities offered by this language. Far from exhausted, continues to renew itself unlimitedly under the direct imprint of each artist in dialogue with the present.

Alejandra Barreda, Carla Bertone, Cecilia Biagini, Gabriela Böer, Fabián Burgos, Juan José Cambre, Natalia Cacchiarelli, Valeria Calvo, Beto de Volder, Verónica Di Toro, Lucio Dorr, Mariano Ferrante, Jimena Fuertes, Silvia Gurfein, Graciela Hasper, Guillermo Kuitca, Julia Masvernat, Karina Peisajovich, Inés Raiteri, Roberto Scafidi, Pablo Siquier, Andrés Sobrino, Leila Tchopp, Mariano Vilela and Carola Zech.

• Happenings

Translated from Spanish

-The different ways in which a cultural emanation is developed by different peoples or communities (for example, the constructive utopias of Brazil, Europe, Venezuela, or Argentina).

-The process through which a more specific answer is emptied out from the ideological content that generated it, and is used for different or even contrary purposes (the influence of Bauhaus in serial industrial production).

-The transformation experienced by style when it is transplanted to another physical and social reality (Vitruvius’ model of religious architecture in Spanish colonies in the American continent).

These sentences are some examples of what has always fascinated me sensually and intellectually: the impure condition of culture and the visual expressions of that complexity.

In a young country such as mine, this is an elemental everyday condition. Buenos Aires’ architecture is a proof of that.

I intend to register all of this in my work. If I have to summarize in two words the themes that inspire my work, these would be disease and contamination.

-Las diversas formas en que una emanación cultural es desarrollada por diferentes personas o comunidades (por ejemplo, las utopías constructivas en Brasil, Europa, Venezuela o Argentina).

-El proceso por el cual una respuesta formal específica, se vacía de los contenidos ideológicos que le dieron origen y se utiliza para fines diversos y aun opuestos (la influencia de la Bauhaus en la producción industrial en serie).

-La transformación experimentada por el estilo cuando se trasplanta a otra realidad física y social (el modelo de Vitruvio en la arquitectura religiosa en las colonias españolas de América).

Estos enunciados son algunos ejemplos de lo que siempre me ha fascinado, a la vez sensual e intelectualmente: la condición impura de la cultura y las expresiones visuales de esa complejidad.

En un país joven como el mío esto es una condición cotidiana y constitutiva. Buenos Aires y su arquitectura son prueba de ello.

Tengo la intención de registrar todo esto en mi trabajo. Si tengo que sintetizar en dos palabras los temas que inspiran mi trabajo serían enfermedad y contaminación.

Selected Biographical Information

Education / Training

• Escuela Superior de Bellas Artes Prilidiano Pueyrredón, 3 years in 1980s, Buenos Aires, Argentina.

Prizes / Fellowships

• 2002: Fundacion Civitella Ranieri, Fellowship, Umbertide, Italy.
• 2000: Fundación Costantini, Honorific Award, Buenos Aires, Argentina.
• 1998: “Young Artist of the Year” by the Argentine Art Critics Association, Buenos Aires, Argentina.
• 1997: Novartis Awards, First Prize, INET Awards, Honorific Award, Costantini, Honorific Award, Buenos Aires, Argentina.
• 1996: Nominated “Best Solo Exhibition” by the Argentine Art Critics Association, Buenos Aires, Argentina.
• 1995: Nominated “Young Artist of the Year” by the Argentine Art Critics Association, Buenos Aires, Argentina.
• 1995: National Endowment for the Arts, “Grant for Creation in the Visual Arts”, Buenos Aires, Argentina.
• 1995: Gunther, Honorific Award, Buenos Aires, Argentina.
• 1992: Nomination for the Konex ’92 awards (Installation), Buenos Aires, Argentina.
• 1991: Ministry of Cultural Affairs from Spain, Fellowship, Spain.

Solo Exhibitions

• 2013: “Structure”, Sicardi Gallery, Houston, Texas, USA.
• 2012: Centro Cultural Recoleta, Buenos Aires, Argentina.
• 2010: Museo Pedro de Osma, Lima, Peru.
• 2009: Baró Cruz Gallery, Sao Paulo, Brazil.
• 2008: Sicardi Gallery, Houston, Texas, USA.
• 2007: Ruth Benzacar Gallery, Buenos Aires, Argentina.
• 2005: Museo Nacional Centro de Arte Reina Sofía, Palacio Velazquez, Madrid, Spain.
• 2003: Ruth Benzacar Gallery, Buenos Aires, Argentina.
• 2001: Sicardi Gallery, Houston, Texas, USA.
• 2001: Fondo Nacional de las Artes, Buenos Aires, Argentina.
• 1997: Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
• 1997: Annina Nosei Gallery, New York, New York, USA.

Group Exhibitions

• 2011: “Southern Identity”, Smithsonian Institutions, The Smithsonian International Gallery, S. Dillon Ripley Center, Washington, D.C., USA.
• 2010: “Beuys y más alla”, Centro Cultural Recoleta, Buenos Aires, Argentina.
• 2010: “Painting With a Hammer to Nail the Crotch of Civilization”, Manila Contemporary, Makati City, Philippines.
• 2010: Sicardi Gallery, Houston, Texas, USA.
• 2009: “Slow Paintings”, Museum Morsbroich, Leverksusen, Germany.
• 2009: “Geomtrías dislocadas”, Sala Mendoza, Caracas, Venezuela.
• 2009: “Talismán se busca Parte II”, Ruth Benzacar Gallery, Buenos Aires, Argentina.
• 2009: “Argentina hoy”, Centro Cultural Banco do Brasil, São Paulo and Rio de Janeiro, Brazil.
• 2009: “All Boys”, Museo Provincial Rosa Galisteo, Santa Fe, Argentina.
• 2009: “White Noise”, DePauw University, Greencastle, Indiana.
• 2008: School Gallery, Paris, France.
• 2007: “La espiral de Moebius”, Centro Cultural Parque de España, Rosario, Argentina.
• 2006: 9ª Bienal de La Habana, Havana, Cuba.
• 2005: “Arte abstracto (hoy) = Frafilidad + Resiliencia”, Centro Cultural de España, Buenos Aires, Argentina.
• 2005: “Contrabandistas de imágenes”, Museo de Arte Contemporáneo, Santiago, Chile.
• 2004: 26ª Bienal de Sao Paulo, Brazil.
• 2003: Project Artgentina, Miami, Florida, USA.
• 2002: “Ultimas Tendencias en la coleccion del Museo de Arte Moderno de Buenos Aires“, Buenos Aires, Argentina.
• 2002: “The city of temptations”, Ediciones Madrid, Madrid, Spain.
• 2002: “Ballesteros Siquier”, Museo de Arte Contemporáneo, Posadas, Misiones, Argentina.
• 2002: “Los amigos de Cippolini”, Belleza y Felicidad, Buenos Aires, Argentina.

Publications

• 2010: Battistozzi, Ana María y Alberto Giudice. Un recorrido por el arte contemporáneo argentino, Buenos Aires, Papers Editores.
• 2009: Sarlo, Beatriz. La ciudad vista, Buenos Aires, Siglo XXI.
• 2007: Civale, Cristina. Industria argentina: Arte contemporáneo en construcción, Buenos Aires, Civale + Maravillarte.
• 2006: Arestizábal, Irma, Olivier Debroise, Ticio Escobar et al. 100 Artistas Latinoamericanos, Madrid, Exit.
• 2005: López Anaya, Jorge. Arte argentine: Cuatro siglos de historia, Buenos Aires, Emecé.
• 2000: Golonbek, Claudio. Guía para invertis en el Mercado de arte argentine, Buenos Aires, Patricia Rizzo Editora.
• 1999: Benedit, Luis F., Jorge Gumier Maier y Marcelo E. Pacheco. Artistas argentines de los 90, Buenos Aires, Fondo Nacional de las Artes.
• 1997: López Anaya, Jorge. Historia del arte argentino, Buenos Aires, Emecé.
• 1997: Escher, Joris y Martijn Kielstra. Platform 1: 70 Young Modern Artists from Asia and Latin America, Amsterdam, Canvas World Art Foundation.
• 1992: Glusberg, Jorge. Del constructivismo a la geometría sensible, Buenos Aires, Centro de Arte y Comunicación.

Collections

• Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
• Museo de Arte Moderno de Buenos Aires, Argentina.
• The Jack S. Blanton Museum of Art, University of Texas, Austin, Texas, USA.
• Museo de Arte Contemporáneo de Rosario, Argentina.
• Museo de Arte Latinoamericano de Buenos Aires, Argentina.
• Gobierno de la Ciudad de Buenos Aires, Argentina.

Additional Links

• Los Molinos Building
• Group Show – de la Mora, Maggi, Muñoz, Rojas & Siquier
• Structure
• Flickr

• Artists