From the shore you can see the final destination of the city's sewage system,
a successful mission of a Monkey Puzzle tree that arrives from Scotland to Buenos Aires,
a cyanobacteria that mutates and multiplies,
a planet submerged in water capitalism.
In the depths of a lake,
organisms that have been preserved intact for millions of years.
A fountain and the sculptural properties of water.
Two bodies that inhabit the ocean,
Meanwhile, they get lost in a constant pause
that suddenly became a new reality ...
a water monitoring station,
a scene of speculation.
The aim is the search for a stand facing this new terrestrial scenario:
the right to use water began to trade
in the international securities futures market.
... a phone rings
Who calls? Who is it for?
Seven artists, from different parts of the world,
were invited to form a constellation of narratives
that transcend time and space.
At the station, 8 hexagons act as screens for water,
everything is happening simultaneously,
they are portals to moving images,
at times, when moving around the space,
they appear and disappear,
dimensions of a fantastic, fluorescent and dystopian setting
where water molecules take the shape of hexagons
generating ‘water links’ that amplify its natural qualities
to exchange information.
What kind of exchanges occur today with water?
What does the water price offer us playing
in the international stock market?
How much does it cost…?
Who decides ...?
Today is DAY ZERO.
A project by
Two characters float and swim in the water, while talking about a failed attempt to escape from a platform they apparently inhabit, both are waiting for a sense of purpose and their only meaning comes from the mere act of waiting.
Here, there is no hope, there seems to be no way out, they seem to be surrounded, they don’t know how much they slept or if they have slept at all. Faced with the impossibility of escaping, of not being able to go too far, they come to the conclusion that their only and best option is to disappear. Then, they discard this option and remain in an existential loop.
Defined by the Wait, is a collage of a dialogue made with fragments of the original script of the theatre play of the absurd “Waiting for Godot” by Samuel Becket.
This work, at the same time, is part of a digital theatre play by the artist entitled "Godot in the Digital Age."
Cynthia Carllinni is an argentine artist, based between Buenos Aires and London. She studied Fine Arts at Ruth Prowse School of Art, CT, South Africa (2009-2012), attended Diana Aisenberg's clinic (2013-2018) and did a Master of Contemporary Art Practice, Critical Practice at Royal College of Art (2018 -2021).
Cynthia uses collage as a working method operating with and through the absurd.
For the past years, she has been researching the ‘Hysteresis phenomenon’ in practical beliefs within ideas of migration, non-borders, shamanic rituals, resistance, hope, pause and reorganisation.
When life is experienced as fractured, no longer supported by a steady stream of habitual associations, different forces collide to make sense out of the nonsense. The artist tries to recognize ‘local specificities’ in a ‘globalized world’ to further understand it’s own identity while embracing the complexities of these relations in our everyday life as a collage experience.
Cynthia sees the 'social' as a space for speculation, as a fundamental aspect in her discourse to deepen research and collective experience. The artist proposes scenarios where her practice is traversed by the encounter with the narratives of others and vice versa.
Often, the curatorial aspect of her artistic practice becomes a key methodology for research in her own work on the phenomenon of hysteresis in practical beliefs and temporality.
Picking up where science fiction author Octavia Butler left off in her Parables series, EARTHSEED 2150 tells the story of humanity's interstellar expansion through the perspective of the nonhuman life left on Earth. Set in 2150, 60 years after humans leave the planet, the video follows an arctic tern's flight path over a landscape of wreckage, beauty, and decay: the last traces of human civilization left on Earth. The bird narrates the events leading up to humankind's departure while drawing comparisons between larger themes such as water and capitalism. At the end of the video, the arctic tern discovers a new sign of life — suggesting that humanity's departure from the planet is perhaps the greatest gift for the Earth to rebuild again.
Alice Bucknell is an american artist and writer from Florida based in London. Her current work uses speculative fiction to address contemporary ideas of technological utopias and the role of architecture in contributing to global inequity and ecological destruction. She participates in international exhibitions, symposiums, and residencies, most recently at Ars Electronica, White Cube, and Annka Kultys Gallery. Her writing appears in publications including Flash Art, Frieze, Mousse, and Elephant. In 2021, she will be in residence at Rupert in Lithuania (May) and RIXC in Riga (August-September), as part of the Goethe-Institut's AI Residency Program. She studied Anthropology and Visual Art at the University of Chicago and Critical Practice at the Royal College of Art in London.
The film follows two overlapping themes: algal blooms, and the Isaac Bashevis Singer story ‘Hanka’.
The footage was predominantly shot in the Paphos district of Cyprus, where I came across a large swimming pool housing the remnants of an algal bloom. Algal blooms are increasing in intensity, as they tend to occur when there is an excess of a pollutant, here likely produced as the pool lay unclean during Covid-19. My discovery of the algae came late — its rusted carpeting of the pool implying that either it had been targeted by some pesticidal attack, or, as is often the case in algal blooms, it had absorbed nutrients in such an opportunistic way that it had exhausted them entirely. An expansion into oblivion.
Isaac Bashevis Singer’s ‘Hanka’ focuses on a Yiddish writer who travels by boat to Buenos Aires. He describes an orgy-like fantasy of the sea, from microscopic algae to whales, where procreation and multiplying are overriding, inescapable desires, much like an algal bloom. When he arrives in Buenos Aires, he encounters an unknown cousin (Hanka), who recounts stories and characters from the past, and seems to have an indirect influence on the failures of the writer’s trip. In time, Hanka’s very being is questioned, her irregular behaviours nearing the supernatural. Reflecting on this, the writer concludes that all his experiences have been ambiguous, but his belief in spirits continues to strengthen.
Microscopic observation tends to exactitude, aimed at classification and understanding at a sub- cellular level. Yet the images produced — particularly when extracted from research and circulating freely on social media as translucent and otherworldly loops — can be ambiguous and open. Here, 3D computer animated cells, based on cyanobacteria, collide and interact using customised forces programmed into the software.
Arieh Frosh is an english London-based artist working with an interdisciplinary approach, using writing, 3D computer animation, motorised sculptures, and film to form narrative-based projects. His recent research interests are around how technology, myth-making and interspecies thinking can produce fictions that might question local contemporary conditions, and their historic underpinnings.
He is a graduate in Critical Practice from the Royal College of Art, London (2020), and from Fine Art at the University of Oxford (2015). He is currently a CORE participant in SPUR world, a six month virtual residency and online community exploring art-making exercises of co-creation and imagineering, and working on a public art commission for Cypher BILLBOARD in collaboration with students at Bounds Green School, London and artist Ed Compson, focusing on wind capture and visualisation.
This video is the recording of a journey through un-configured landscapes, gestures, the administration of energy resources and their ornamental use. The contemplation of the falling water is like seeing the fire burn, it proposes a hypnosis that soaks the thought. Channel the energy, always generates imperceptible leaks, the drops that splash the perfect plan.
“At first my interest was architecture and generating fictional spaces, but thanks to long conversations and exchanges with colleagues and people in the arts, I began to investigate other possibilities and formats within my work: I complemented these scenarios with actions and guidelines.”
“My visual practice is formally varied. In various performances I seek to observe how human behaviour responds, when the proposed norms restrict freedom of action: to do so, I establish different objectives for the viewer and for the performer, making them intersect. In all cases I work with particularities in the circulation of space such as labyrinths and circuits to be passed by the viewer.”
“At other times, it is a living statue that immobile observes the public that orbits around him contemplating it, testing the degree of usefulness or aptitude of things, the significance or importance of an action. A series of videos and photographs took my family group as a plastic and performative matter, in their daily events and extraordinary events, myself included.”
“Lately, I am trying to rehearse about possible affective bonds and interactive relationships. I work from and towards the emotions and feelings that germinate from the practices between people, bodies, animate and inanimate beings, and the spaces they inhabit.”
Dana Ferrari studied Scenography at the National University of Art (UNA) and Characterization at the Instituto Superior de Arte Teatro Colón (ISATC), while she attended workshops on scenographic production. Since 2012 she has participated in work analysis clinics, and was selected in the National Arts Fund Grant programs - CC Haroldo Conti, the Cinema Laboratory and the Artists Program of Torcuato Di Tella University. Since 2016 he has also attended the studio of the artist Diana Aisenberg.
Her main exhibitions were: Diana (Isla Flotante, 2013) and El Divismo y lo Divino (Naranja Verde, 2014; Munar, 2018), both performance-installation; and the exhibition La Época de los Perros Flacos (Chimera, 2018). Her main video-performance works are: Clientes, made with her sister Ángela Ferrari and exhibited in the final sample of the UTDT Artists Program (2015); Amenities, which won the 3rd UADE prize and was performed live at the CCK (2018) and at the Bienal Territory (2019).
She is currently part of the La Baranda group, and since 2014 he has been developing RICAS Estudio, a commercial project and artistic collective, together with Clara Campagnola dedicated to artistic settings and scenography productions.
August 1824 – Doña Josefa Balcarce y San Martín de Gutiérrez Estrada (also known as José de San Martín) arrives in Banff, Scotland, gifting James Duff 4thEarl Fife a native Argentine Monkey Puzzle tree Araucaria Araucana as a sign of their friendship, having fought together in the Peninsular War.
October 1950 – On the 100-year anniversary of José de San Martín’s death, Carlos Alberto Hogan – politician and Argentine Ambassador – pays a celebratory visit to Banff, planting a Monkey Puzzle tree in Banff Castle grounds as a gesture of continued fellowship between the two nations.
February 2021 – As he wallows in the thickly nostalgic sentimentality of what it means to be Scottish, Charlie ‘the-not-so-bonnie’ (as he is known to friends) begins his speculative voyage from Glasgow to Buenos Aires with a young Monkey Puzzle tree, with the vain hope of vindicating Scotland’s past shipbuilding prowess, sustaining distant international friendships and reviving his own fervour for national independence.
Jamie Steedman is a scottish artist and writer currently based in Glasgow, Scotland. He completed an MA in Contemporary Art Practice in the Public Sphere at Royal College of Art, London in 2020, and in recent years has participated in and co-curated various projects across London, Shanghai, Glasgow, Edinburgh, Dundee and Utrecht, as well as online. Steedman has been awarded the Alastair Smart Memorial Prize for Contemporary Art (2018), the Sir William Gillies Bequest Award (2019), and an Award of Distinction for his MA Dissertation ‘Case 655735: Enquiry for the Mowbray Monument’. In the coming months he will be publishing an article in Montez Press’ Interjection Calendar and hosting a slot on Montez Press Radio. Steedman is also a co-editor of windfall* – a quarterly arts publication aiming to champion emerging contemporary artists working across the UK. He currently has a strange interest in seagulls.
Maar is Léa Porré’s latest video project that follows her ongoing exploration of her country’s medieval history as well as world-wide mythology.
Based on her research on volcanism in France as well as local tales and folklore, Maar narrates a fictional travel of a geologist encountering Lac Pavin — a truly mysterious and unique lake, for the first time.
Located in France, in the volcanic region of Auvergne, Lac Pavin is on top of a supposedly dormant volcano, whose latest eruption dates back 6000 years. Since then, many other sightings have been reported for centuries and became part of local folklore. Becoming a place where myth and reality collide, its very name draws its roots from latin ‘pavens’, a dreading lake ‘where the Devil resides’.
This geological site becomes a set for Porré’s video, in which the narrator’s encounter with the lake gives way to something much more mysterious, an intimate one-to-one connection with the lake as we learn that it contains a form of life reminiscent of the times of primordial life — an impossible rendez-vous with our own genesis.
Porré’s Maar offers a captivating transhistorical disjointed narrative, rendering excavation and ritual, legend and fantasy as one.
Léa Porré is a French and Belgian artist born in 1996, currently at the Royal College of Art (MA Contemporary Art Practice). She graduated from Central Saint Martins (BAFA 4D) in 2018.
Her practice is a critical re-reading of French History through a lens of mythology, deeply rooted in a cyclical vision.
She composes speculative and trans-historical narratives that share a fluid relation to time and reality, disrupting iconic imagery, rituals and beliefs, in order to construct a space of healing, of critical awareness and re-enchantment of the Past.
Recent solo exhibitions include: ‘Dear One’, Virginia Bianchi Gallery, Online (2020) - ‘Historical Amnesia’, Chateau de Lantheuil, Lantheuil, France - ‘Forbidden Royalist Club’, Off Site Project, Online - and duo show ‘Who Knows What Happened Here?’, Placement Produit, Aubervilliers, France (2019).
Group: ‘Vacation at the End of the World’, Electric Artefacts, curated by Off Site Project, Online - OUT OF TOUCH, curated by Hervisions, Lux, Online - ‘How to inhabit the screen’, Espacio Odeon, Bogota, Colombia.
Upcoming: Solo: ‘Versaliae’, Off Site Project, Online - Group: ‘Les(Im)mattériaux’, Galerie XY, Olomouc, Czech Republic.
She took part in Akademie Schloss Solitude / Zentrum für Kunst und Medien’s web residency, ‘Ghosted’ (2018) and the Digital Artist Residency programme (2020).
The plan is to walk beside the water, reach the coast and follow it, see where the earth ends and the water starts. Lain Sinclar, a british writer who loves rivers, quotes this definition of coast by the poet Jeremy Prynne: “that ambiguous delicate line”1. To get there, I pass behind buildings, highways, tanks, fences, clubs, fields, estate concessions, navy officers, swamps, the port. In many places you can ́t, or they don’t let you in. How do life and coast get together? I followed the sewer pipes and reached Berazategui’s riverbank, where they drain into open waters. This place is 339 km away from Punta Rasa (going down Route 11), where the River Plate ends. It’s a tiny dot connected to other dots. I drink some white wine with Sprite at Parana’s coast street. I go to Ciudad Universitaria through Costanera Avenue on my bicycle. Way and back, way and back. I bathe in the beaches of Vicente López and read stories. In Avellaneda’s coastline, beside the mouth of the Riachuelo, I meet with my friends from “Puerto Piojo expeditions”, a beach that has been buried behind Dock Sud petrochemical centre. During the summer, we camped at Punta Indio and had our holiday by the river. We wallowed in the mud and hydrated our instinct of walking by the water.
Back in the city, I look for the closest way to get to the river from home. It turned out to be the mouth of Ugarteche stream, next to the disputed land between neighbours and real estate businesses of Punta Carrasco. I go fishing. There are more people there. I sit by a group who are chatting around sculptures made of iron and concrete. I buy one chipa to a coaster who roams the area, and a can of beer to another one. Several architects pass by, they are talking about plans for a public park. I run into my friend Delfi, who is sticking signs that ask “Do you know you are now standing over a stream?” On the other side, a group of people are roasting meat hidden from the wind behind some rubble. In the shadow, three of them lie over a blanket, two of them are having a nap.
1- Lain Sinclair, “The Lost Rivers of London”. Fiordo, 2016.
Santiago Ortí is an argentine artist and lecturer, born in 1985 in Buenos Aires, where he currently lives and works. In 2018 He obtained a grant from the National Arts Fund for his project “La Cloaca” and in 2017 he participated in the project “Es una Vidriera” curated by the actress Inés Efrón. In 2011 he was selected in the National Photography Salon. He has participated in exhibitions in different spaces in the city of Buenos Aires such as La Casona de los Olivera Contemporary Art Center, La Fábrica de Perú, La Verdi, Ruth Benzacar Gallery, Matienzo Cultural Club, National University of San Martín, Moria Gallery, Gunpowder, among others. Since 2015 he has been a teacher in Project I and II subjects at the University of Buenos Aires. He belongs to the Control work group where he works as a photographer making productions for artists like Nicola Costantino and recording works of art for institutions, galleries and artists.
He works with installation, photography, video and performance. He is interested in what is discarded, the day-to-day processes that produce waste, and the systems in which they participate. He makes meticulous records, collects, archives and proposes tours. He wonders about the ways of inhabiting the planet.