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Section curated by
Chus Martínez,
Elise Lammer
and Rosa Lleó

Lili Reynaud-Dewar, still from TEETH GUMS MACHINES FUTURE SOCIETY (2016). HD Video, color, sound, 35’59”. Courtesy of Gallery Emanuel Layr, Vienna and Rome.

By presenting a series of artists, together with a publication and a conference, we will talk about a future without futurology in a tentative exercise to approach what feeds art and society today.

This is The Future according to:

Ad Minoliti (*1980 in Buenos Aires, where she lives and works) earned a BFA from the National Academy of Fine Arts P. Pueyrredón in Buenos Aires, Argentina. Her work is concerned with the relation between eroticism, queer theory, history and geometry—as well as the anthropological importance and social implications of design. For the artist, geometry is the best tool to represent and imagine a trans-human utopia in which gender theories can be applied to the pictorial language, giving way to new possibilities in which we can experiment the visual world. Since 2009, she is an agent at the Artistic Investigation Center of Argentina, year she also founded the group PintorAs, a feminist collective of Argentinian painters. She is the recipient of many national awards, and received grants from the Ministry of Culture of Argentina; the Metropolitan Fund for the Arts of Buenos Aires, and Mexico’s FONCA Conaculta, among others. Her work has been exhibited broadly at galleries, institutions and museums in Argentina, South America, the USA and Europe. She has participated to the Bienal del Mercosur in Porto Alegre, Brazil; the Aichi Triennal in Japan, and the Front Cleveland Triennial. Courtesy Crèvecoeur, Paris.

Needless to say, when Eduardo Navarro (*1979 in Buenos Aires, where he lives and works) proposed a series of edible drawings for his presence in ARCO, a humorous scenery of a pleasurable destruction of the present crossed our mind. Edible art is not a thing we “can do,” but a true individual apotheosis that questions the relationships we have historically established with our ideas and sentiments. In other words: if nationalism is based on imaginations of separation and if colonial-power expansionism was and is based on the possibility of absorbing, it is far from crazy to devise an art practice which fundamentally presents cultural cannibalism as a way to reveal the burden of post-Enlightenment forms of power, our relationship to the organs we use to produce ideas, and the future of more radiant and inspiring ideas about gender and identity. His main solo exhibitions include: Órbita, UTDT (2013); Estudio Jurídico Mercosur, Faena Arts Center (2012), both in Buenos Aires. His work has appeared in exhibitions including Surround Audience, New Museum Triennial, New York; The Past, The Present, The Possible, Sharjah Biennial, UEA (both 2015); We, the outsiders, e-flux, New York; Ir para Volver, Cuenca Biennial, Ecuador (both 2014); Weather Permitting, Mercosul Biennial (2013); There is always a cup of sea to sail in, São Paulo Biennial (2010). Courtesy Nara Roesler, São Paulo.

OPAVIVARÁ! (formed in 2005 in Rio de Janeiro, where they all live and work) is an art collective acting in public spaces of cities, galleries and cultural institutions, who questions the use of private and public spaces, through the creation of relational objects which provide collective experience. Some of their recent projects include Transnômades, REDCAT, Los Angeles (2018); YO <3 MANTERO and CANGAÇO, The Green Parrot in partnership with Fundació Antoni Tapiès, Barcelona; Transnômades, Hangar Residência, Lisbon; Duett mit Kunstler in, Moorsbroich Museum, Leverkusen, Germany (all in 2017); Transnômades, 32th São Paulo Biennial, curated by Jochen Volz (2016); Paladar Público, 12th Havana Biennial, Cuba (2015); Taipei Biennial, Taiwan (2014). Courtesy A Gentil Carioca, Rio de Janeiro.

Lili Reynaud-Dewar (*1975 in La Rochelle, lives and works in Grenoble, France) uses a range of media such as textiles, sculpture, text, performance and video to create environments in which she examines how gestures of vulnerability and concealment catalyse both exploitation and empowerment. Her practice considers the historical, social and economic construction of the institutions she produces in and her works expose how these spaces privately and publicly codify bodies and experiences. She had solo exhibitions in many institutions worldwide, including De Vleeshal, Middleburg; Museion, Bozen; Artpace, San Antonio; Kunstverein SALTS, Birsfelden; K11, Shanghai; Kunstverein, Hamburg; New Museum, New York; and Index Foundation for contemporary art, Stockholm. She has participated in several group shows and Biennals including The Absent Museum, Wiels, Brussels; the 56th Biennale di Venezia; All that falls, Palais de Tokyo, and the Marrakech and Lyon Biennials. She has held performances and screenings at the Tate Modern, London; Villa Medici, Rome; Centre Pompidou, Paris; and the Serpentine Cinema, London, among others. In 2013, Lili Reynaud-Dewar was awarded with the Prix Fondation Ricard. Courtesy Emanuel Layr, Vienna and Rome.

Lin May Saeed (*1973 in Würzburg, lives and works in Berlin) makes sculptures, reliefs, drawings, works on paper and video. Known for her use of non-traditional materials, such as and especially styrofoam, Saeed’s work is directly linked to and thematically informed by her interest in animals and her commitment to animal activism. Her work deals with the exploitation of animals, their depiction, liberation, and potentially harmonious relationship with human beings, and the self-seeking meanness of the latter. In 2018 she will present a solo show at Studio Voltaire, London and she is currently taking part in Metamorphosis, curated by Chus Martínez, Castello di Rivoli, Torino. Recent exhibitions include: Djamil, curated by Chris Sharp, LULU, Mexico City (2017); La Fin de Babylone, KölnSkulptur #9, Cologne (2017); 9th Berlin Biennial, Center for Style/DIS (2016). Courtesy Nicolas Krupp, Basel and Jacky Strenz, Frankfurt.

Teresa Solar (*1985 in Madrid, where she lives and works) plays with language and how it relates to the ever-changing process of translation, to create installations using a vast array of media. In her sculptures, she uses elements inspired from atrezzos and ephemeral architecture. Formally and conceptually, her varied vocabulary borrows elements from sea creatures, funfairs, or the history of contemporary philosophy. Her recent exhibitions include: La Fin de Babylone, KölnSkulptur #9, Cologne (2017); Ground Control, Joan Prats, Barcelona (2017); Theater of Measurement, Kunstverein Munich (2017); Art Situacions, Matadero, Madrid (2016); Itinerarios: renderizando la realidad, Fundación Marcelino Botín, Santander (2016). Solar was finalist of The Rolex Mentor and Protégé Arts Initiative in 2016. Courtesy Joan Prats, Barcelona.

The work of Ramaya Tegegne (*1985 Geneva, where she lives and works) is motivated by a need to reflect on and rethink the economy, structure and circulation of practices through the artworks, lives and narratives which make and unmake art histories. It also seeks to understand art mechanisms from the inside, observing phenomena such as art communities and gossip. Her recent solo exhibitions include Galerie Maria Bernheim, Zürich; Park View, Los Angeles; Bureau des réalités, Brussels; First Continent, Baltimore; Fri Art Kunsthalle, Fribourg; and Marbriers 4, Geneva. Recent group shows and performances include Kunsthalle Basel; Kunsthalle Bern; Svetlana, New York; Lodos, Mexico City; Kunsthalle Zurich; Ύλη[matter]HYLE, Athens; Swiss Institute, New York; Tbilisi 16, Georgia; Kunsthaus Glarus; Oslo 10, Basel; The Duck, Berlin; Galerie Emanuel Layr, Vienna; Gasworks, London; Model Project, Vancouver; Schinkel Pavillon, Berlin. She was co-director of the art space Forde in Geneva (2014–2016), and is co-founder of the curatorial project and bookshop Oraibi + Beckbooks in Geneva. In 2017 she launched “Wages For Wages Against” an initiative for the systematic payment of artist fees by institutions within Switzerland. Maria Bernheim, Zurich.

Goran Trbuljak (*1948 in Varaždin, Croatia, lives and works in Zagreb) has been active since the late 1960s. While searching from the very beginning for alternative means of production and representation of the artwork, Trbuljak has redefined the status of artistic context, asking radical questions about the autonomy of the system of museums and galleries and about the mechanisms by which something is accepted as art. He tested “the accidental” as a key moment to create an artwork, while organizing exhibitions in streets and hallways. For the artist a simple gesture can function as a critique of the artistic and social system. Still, there are typical traces of humor and self-irony in Trbuljak’s oeuvre. Recent solo and group exhibitions include: Everything we see could also be otherwise (My sweet little lamb), The Showroom, London; Monogram, Monograph, Monochrome, Monologue…, P420 Arte Contemporanea, Bologna, Italy; Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MoMA, New York, and Personal and others obstacles, Gregor Podnar, Ljubljana. Courtesy Galerija Gregor Podnar, Berlin.

The scenographic project of Alvaro Urbano (*1983, Madrid, lives and works in Berlin) takes its roots in the impossible theaters of Archizoom Associati (1966–1974), the famous design studio from Florence, and is composed of different volumes and elements used to create rhythm. Functioning as a performable and portable stage for ARCO symposium The Future: Beyond the Crystal Ball, Urbano’s scenography includes various scenic elements representing the aesthetics of postmodernism, creating and interacting with a social arena in which objects are performed. Urbano studied at the Architecture School in Madrid and completed his studies at the Institut für Raumexperimente (Professor Olafur Eliasson) Universität der Künste in Berlin. Recent solo projects and exhibitions include: Altbau, ChertLüdde, Berlin; Almost Midnight, Frankfurt am Main, Berlin; Assemble, performance night, Bundeskunsthalle, Bonn (all in 2017). Recent group exhibitions include: Alpina Huus, curated by Elise Lammer and Denis Pernet, Geneva and Lausanne; Festival of Future Nows II, Hamburger Bahnhof, Berlin; Notes on our equilibrium, CAB, Brussels; An ear, severed, listens, ChertLüdde, Berlin, (all in 2017); Deep Inside, Moscow International Biennale for Young Art (both in 2016). Courtesy ChertLüdde, Berlin.

triangle frieze

triangle frieze