Sculpture (Sculpture)

In Onde quer que voce esteja (2011) Accinelli sets up a row of cardboard shipping tubes of varying heights and inscribes on them in black ink the words of the title, which translates in English as “Wherever you may be.” The words, while legible, seem like fragmented lines and shapes—almost but not quite a deconstruction of the text. Accinelli explores the relationship between objects as metaphors of their own materiality and as tools for conveying ideas.

Film & Video (Film & Video)

In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space. There is no special or definite way to understand it. And it is in this construction where Morales envisions the world as an endless void, or timeless gravity, that we fall deeper and deeper into our own humanity.

Film & Video (Film & Video)

Pasajes I is the first in a series of Sebastián Díaz Morales’s four videos Pasajes , which focuses on a solitary man walking through Buenos Aires. He walks through churches, shops, and libraries—accessing completely different interior spaces simply by going through doors. The seamless editing allows the man to transcend locations: after he enters a house from a busy intersection he emerges in the halls of a school.

Sculpture (Sculpture)

For the project Aguas calientes Gabriel Chaile exchanged silverware from three popular soup kitchens (mutual aid organizations to provide food for people in need) in Buenos Aires to brand new cooking utensils to shape his project. Chaile then reworks the used goods, welding and engraving the names of their sites of provenance and imagery from local indigenous community’s visual repertoire; faces from vessels and iconography present in Cultura Tafí, Condorhuasi, Alamito, Santa María, Candelaria, and Ciénaga. Through this operation, he translates the idea of the “communal pot” into a meeting point for mutual cooperation and political resistance.

Photography (Photography)

La Cultura de la Felicidad (The Culture of Happiness) is a series of five photographs addressing everyday life—a couple in a bed, lovers on a bench and a family reunion. The subjects wear masks made of white cardboard. The series suggests the idea of a reality hidden under the appearances of the power in place that denies violence to citizens.