MODELOS PARA ARMAR Pensar Latinoamérica desde la Colección MUSAC,
featuring works by Carlos Amorales , Alexander Apóstol, Julieta Aranda, AVAF, Fernando Bryce, Erick Beltrán, Iñaki Bonillas, Tania Bruguera, François Bucher, Luís Camnitzer, Raimond Chaves, José Damasceno, Dr. Lakra, Matías Duville, Sandra Gamarra, Carlos Garaicoa, Mario García Torres, Diango Hernández, Juan Fernando Herrán, Federico Herrero, María Teresa Hincapié, Leonilson, Jorge Macchi, Gilda Mantilla, Gilda Mantilla y Raimond Chaves, Teresa Margolles, Hernán Marina, Ana Mendieta, Mujeres Creando, Óscar Muñoz, Rivane Neuenschwander, Damián Ortega, Álvaro Oyarzun, Nicolás París, Jorge Pineda, Caio Reisewitz, Rosângela Renno, Pedro Reyes, Miguel Ángel Rojas, Martín Sastre, Melanie Smith y Rafael Ortega, Valeska Soares, Javier Téllez, Meyer Vaisman , Carla Zaccagnini,
curated by Agustín Pérez Rubio, María Inés Rodríguez, Octavio Zaya
opened this past weekend at MUSAC.
Angelidakis studio was responsible for the layout of the exhibition,
continuing our ongoing project of making architecture with exhibition walls.
Damien Ortega y the great Meyer Vaisman
the spaces starts without any architectural intervention, since the works themselves offer a brief panorama of Model Kits: The Favela, The City, the Industry, the Car, the Metaphysical, the Labyrinth.
to a bright oval room for Ana Mendietas' simulated violence
walls pushed to reveal openings
up a path between small rooms that leads to the smallest superwhite room
from a little window you can see Valeska Soares
and a great piece by Carla Zachagnini that involves a series of stamps made from texts on Latin America, which have appeared in the local press. Everybody at Musac will use these stamps over the coming months to infiltrate the piece out to the world.
stepping outside to Federico Herrero's Patio (Musac)
leading to white room in a jungle
Raimond Chaves y Gilda Mantilla with plants coming in from the outside
great Avaf outside
which is just another inside
Matias Duville (observed by Mr Bryce and Mr Apostol)
low ceiling reading rooms
and back to the beginning of
Meyer Vaisman's Vedre por fuera, rojo por dentro (el armario del mis padres)