Running from 17 September to 4 October 2026, Ways of Knowing Otherwise brings together works developed during the three-month AIR-M Ebenböckhaus residency of Emilia de las Carreras (Buenos Aires, Argentina) and Fátima Rodrigo (Lima, Peru). Curated by NEBYULA by Rosa Stern Space e.V. in collaboration with Salta art and presented at SOSOSO Space, it reflects an intensive period of artistic research, experimentation, and local exchange.

Throughout their residency, both artists immersed themselves in Munich’s cultural and industrial landscape by visiting studios, engaging with regional practitioners, researching museum archives, and collaborating with local workshops and recycling initiatives.

The exhibition is organized and supported by Salta art and curated by NEBYULA by Rosa Stern Space e.V.

Emilia de las Carreras and Fátima Rodrigo are artists in residence at AIR-M Ebenböckhaus in Munich, from 7 July to 24 September 2026, through a collaboration between the Department of Arts and Culture of the City of Munich and Salta art, in partnership with ERA Foundation.

Exhibition text by Teresa Retzer.

Opening: Thursday, 17 September 2026, 4–8 PM

Exhibition: 17 September–4 October 2026

Opening Hours: Friday–Sunday, 12–5 PM, and by appointment at info@saltaart.org

Location: SOSOSO Space Lindenschmitstraße 27 Sendling, Munich

About the artists

Emilia de las Carreras explores the transformative potential of discarded urban and industrial materials collected across Munich. Drawing inspiration from research in medicine and biology, she refashions these salvaged objects through processes of weaving, connecting, and assembling. Her sculptural structures evoke living organisms, reflecting broader themes of ecological systems, adaptability, collective repair, and care.

Fátima Rodrigo continues her decade-long investigation into the translation and circulation of modernist aesthetics and popular visual cultures in Latin America. Drawing on research in Munich’s archives and collections, she examines how histories of design, industry, and exhibition practices intersect with her own artistic practice. Using beads, sequins, metallic threads, and industrial textiles, her immersive installations challenge postcolonial narratives, authorship, and conventional boundaries between traditional craft and avant-garde expression.

About SOSOSO Space

SoSoSo Space is an independent exhibition space for contemporary art in Munich’s Sendling district. It provides a platform for experimental artistic practices, exhibitions, and collaborative projects, fostering exchange between artists and local audiences.

About NEBYULA by Rosa Stern Space e.V.

NEBYULA by Rosa Stern Space is a free artistic production and presentation organization, which is used as an autonomous platform and interactive network beyond the logics of institutions and the market. Central to this is the examination of discourses, ideas and theories of space. We combine analog and digital exhibition formats and offer—physically and virtually—a participatory and discursive place for the mediation of contemporary art. The interdisciplinary projects focus is on technology, future-oriented contemporary issues and the emerging in-between spaces. The promotion of art education, (inter)national networking and transcultural exchange is made possible through a series of artistic interventions and collaborations.

As part of the AIR-M Ebenböckhaus residencies, South American artists Emilia de las Carreras and Fátima Rodrigo, alongside curator Ariana Nuala, host an open studio sharing their new works and giving insights into their research.

Emilia de las Carreras (Buenos Aires, Argentina) is a visual artist based in Buenos Aires. Her practice centers on the collection and transformation of discarded materials encountered in urban environments. Working across sculpture, installation, and site-responsive projects, she reactivates objects such as aluminum bottle caps, glass fragments, shells, and construction debris, exploring the social, ecological, and affective histories they carry. Through processes of weaving, assembling, and collaboration, de las Carreras creates suspended structures and sculptural forms that evoke bodies, organisms, and systems of adaptation.

Fátima Rodrigo (Peru) is a visual artist working across mixed-media installation, sculpture, textile, sound, and scenographic environments. Her practice explores the intersections between modernity, popularculture, and gender identity in Latin America. Through installation, textiles, sculpture, and sound, she traces how European avant-garde languages were absorbed, translated, and reimagined through television, music, entertainment, and other forms of everyday visual culture, revealing the complex negotiations between local and global imaginaries.

Ariana Nuala (Brazil) is a researcher and curator whose practice unfolds through sustained dialogue with artistic collectives and institutional contexts. Their work examines museums as sites where memory, power, territory, and diaspora intersect. Combining curatorial practice with poetic writing, pedagogy, and collective processes, Nuala develops methodologies that resist institutional pacification while sustaining tension, opacity, and critical proximity.

Emilia de las Carreras and Fátima Rodrigo are in residence at Ebenböckhaus in Munich from July 7 to September 24, 2026. The residency is a collaboration between the City of Munich Department of Arts and Culture and Salta art, in partnership with ERA Foundation. Ariana Nuala in residence at Ebenböckhaus in Munich from August 25 to September 24, 2026. This residency is supported by Pivô and the City of Munich Department of Arts and Culture, in collaboration with Salta art.

As part of her residency at Ebenböckhaus, artist Fátima Rodrigo (Peru) gives a guest lecture to Klasse Kretschmann at the Academy of Fine Arts in Munich. The lecture is titled “Affective Lineages: dreams, Desires, and Other Histories” and is followed by on-onone conversations between the artist and academy students.

Fátima Rodrigo (Lima, Peru) is a visual artist working across mixed-media installation, sculpture, textile, sound, and scenographic environments. Her practice explores the intersections between modernity, popularculture, and gender identity in Latin America. Through installation, textiles, sculpture, and sound, she traces how European avant-garde languages were absorbed, translated, and reimagined through television, music, entertainment, and other forms of everyday visual culture, revealing the complex negotiations between local and global imaginaries. Fátima Rodrigo is in residence at Ebenböckhaus in Munich from July 7 to September 24, 2026. The residency is a collaboration between the City of Munich Department of Arts and Culture and Salta art, in partnership with ERA Foundation.

This lecture is organized by the Academy of Fine Arts Munich in collaboration with Salta art.

As part of her residency at Ebenböckhaus, artist Emilia de las Carreras (Argentina) gives a guest lecture to Klasse Pirici at the Academy of Fine Arts in Munich. The lecture is titled “An Organized Form of Curiosity” and is followed by one-on-one conversations between the artist and academy students.

Emilia de las Carreras (Buenos Aires, Argentina) is a visual artist based in Buenos Aires. Her practice centers on the collection and transformation of discarded materials encountered in urban environments. Working across sculpture, installation, and site-responsive projects, she reactivates objects such as aluminum bottle caps, glass fragments, shells, and construction debris, exploring the social, ecological, and affective histories they carry. Through processes of weaving, assembling, and collaboration, de las Carreras creates suspended structures and sculptural forms that evoke bodies, organisms, and systems of adaptation. Informed by research in medicine and biology, her work reflects on ideas of healing, mutation, and care, investigating how everyday materials can become repositories of collective memory and forms of connection. Emilia de las Carreras is in residence at Ebenböckhaus in Munich from July 7 to September 24, 2026. The residency is a collaboration between the City of Munich Department of Arts and Culture and Salta art, in partnership with ERA Foundation.

This lecture is organized by the Academy of Fine Arts Munich in collaboration with Salta art.

As part of her residency at Pivô Salvador, Giulia Zabarella opened her studio, sharing an ongoing body of work developed through encounters and observations in Salvador da Bahia. Drawings, photographs, projections, and texts were presented as fragments of a broader research process. Her work engages Afro-diasporic histories, syncretic religious practices, urban tales and encounters in the city of Salvador, translating field-based research into layered visual and textual forms.

The open studio also included a performative reading with João Paes and an artist talk with curator Janaina Selva.

During her stay in Buenos Aires, Monika Bayer-Wermuth was invited to take part in the panel discussion “Museums for Public Life” at the Museo Moderno in Buenos Aires, organized by NODO.

Sharing the stage with Marielsa Castro Vizcarra (MAMM) and Juan Canela (MAC Panamá), the curators discussed how museum institutions from Latin America and Europe can use collection management to address social and environmental crises. The talk explored strategies for accessibility, decolonization, and the restorative potential of cultural institutions today. Many thanks to the moderators Valeria Semilla and Patricio Orellana, Museo Moderno, and to everyone who joined the conversation.

Monika’s research trip was realized through the collaboration between Salta art, Goethe-Institut, Meridiano (within the framework of the NODO Program), and ABACT/Latitude.

Carmen Arias in conversation with curator Lydia Korndörfer as part of an open studio and artist talk on Friday, May 15 at 12:00.

As part of the Salta art Studio Grant, awarded in February 2026, Arias will open the doors to her studio at Empfangshalle (Gabelsbergerstraße 83), offering insight into her current work and research. The work presented here examines the use of ornaments in public space through encounters between natural forms and constructed imitations. The talk begins at 12:00, with the studio remaining open until 16:00. The event takes place as part of the Various Others program.

The works of Carmen Arias take us on a journey into the undergrounds and to the “Supraterranean.” Through the means of sculpture and language, Arias explores what defines modern life—and its ancient histories. Her focus is on urban space, yet the artist reveals unexpected connections between today’s sewage systems and Paleolithic caves. In this way, the city becomes a portal—and the former replica of the Altamira Cave at the Deutsches Museum ultimately leads back to the artist’s homeland.

Having grown up near Altamira, Arias’s understanding of sculpture was shaped not only by her place of origin but also by her father’s profession: “Only in sculpture and archaeology would one attribute meaning to a simple stone.”, states the artist and looking closely at her young oeuvre, the proximity of her practice to the methods and objects of archaeology becomes strikingly apparent. Artisanal techniques of reproduction intersect with the presence of scientific instruments and archaeological study objects. In this sense, a giant tooth appears both as a tool for digesting one’s urban environment and as a memorial object, carrying traces of an individual life into the future.

The open studio and artist talk provide an opportunity to further explore how the methods of sculpture and archaeology—and the magic of reproduction—intertwine in Arias’s works, while offering insight into the conditions of their production.

Lydia Korndörfer

About Carmen Arias

Carmen Arias’s practice spans sculpture, installation, sound, and material activations, engaging with the city as a constructed body shaped by political, social, and historical forces.

Working with materials such as ceramic, plaster, concrete, steel, and found objects, she draws on overlooked architectural and infrastructural elements -manholes, service ladders, pipes, ventilation systems, and underground passages. Through shifts in scale, material, and function, these structures are reconfigured into sculptural forms that question how urban systems operate and how they relate to the body.

Her work often approaches the city as an archaeological site, revealing hidden networks of circulation -of water, air, and movement- and exploring their resonance with bodily processes. Sculptural elements can be activated performatively, further emphasizing the relationship between infrastructure, presence, and use.

About Lydia Korndörfer

Lydia Korndoerfer is an art historian, writer, and curator. Her research and curatorial projects focus on interdisciplinary artistic practices that engage with contemporary and future realities, moving between the fields of politics, society, religion, science, technology, and nature. She is currently an Associate Curator at Haus der Kunst München, where the exhibition “For Children. Art Stories since 1968” has been central to her work since 2023. From 2020 to 2021, she was Artistic Director of the Kunstverein Arnsberg. Since 2013, she has been working as an independent curator realising exhibitions such as “Proyecto Eclipse” at Matucana 100 in Santiago de Chile (2019), and “Hey, Mars!” at Haus am Lützowplatz in Berlin (2019). Korndoerfer studied at the Humboldt University in Berlin and the University of Bologna. She has contributed to exhibition catalogues and monographs as an author and editor, and has taught at art academies including the Berlin University of the Arts, the Braunschweig University of Art, and Burg Giebichenstein in Halle.

On the occasion of Sandra Vásquez de la Horra’s retrospective exhibition “Soy Energía” at Haus der Kunst Munich, the artist meets her long-time companion Cecilia Vicuña. It is a meeting of two influential international voices with Chilean roots in contemporary art. The conversation brings together two artists who share a long-standing friendship and whose works forcefully address themes such as exile, memory, spirituality, indigenous cosmologies, the body and resistance.

What connects Vicuña and Vásquez de la Horra is a practice that interweaves poetry, ritual and political urgency, shaped by experiences of dictatorship, migration and the commitment to human and women’s rights. The public conversation, moderated by Jana Baumann, curator of the exhibition, marks a historic moment, a rare encounter between two artistic positions that have resonated strongly for decades.

The conversation also precedes the forthcoming publication Salta art Encounters, an ongoing Salta art series documenting dialogues between artists from South America and Europe-based curators. One of the upcoming volumes will feature a dialogue between Sandra Vásquez de la Horra and curator Jana Baumann.

In collaboration with Haus der Kunst.

Reserve Tickets

Sandra Vásquez de la Horra was born in Viña del Mar, Chile, in 1967. Since 2010, Sandra Vásquez de la Horra has been living and working in Berlin, expanding her oeuvre to include large-format drawings, leporellos and expansive installations that explore the connection between humans and nature. In recent years, Sandra Vásquez de la Horra has received several awards, including the Hans Theo Richter Prize (2021) and the Käthe Kollwitz Prize (2023). In 2022, she participated in the Venice Biennale, and, in 2024, the Denver Art Museum presented a retrospective exhibition. “Sandra Vásquez de la Horra. Soy Energía” at Haus der Kunst in Munich is the first comprehensive exhibition of her work in Europe.

Cecilia Vicuña (born 1948 in Santiago de Chile; lives and works in New York, NY, and Santiago de Chile) combines poetry, performance, conceptual art, and textile techniques in her artistic practice as a response to pressing contemporary issues, including ecological destruction, human rights, and cultural homogenisation. Her work has been presented internationally at major institutions such as the Tate Modern and the Solomon R. Guggenheim Museum and has been featured in numerous international exhibitions. Vicuña has received several awards, including the Gold Medal ‘Icon Artist’ at the Art Basel Awards (2025); the Roswitha Haftmann Prize, Zurich (2025); and the Golden Lion for Lifetime Achievement at the Venice Biennale, Venice, Italy (2022).

Jana Baumann is a curator, editor, and author. She organizes exhibitions dedicated to transdisciplinary artistic practice, contributing to research on physically experiential and gender-critical art historiography. She has been senior curator at Haus der Kunst München since 2017, curating major retrospectives such as “Sandra Vásquez de la Horra. Soy Energía” (2025), “Rebecca Horn” (2024), “Heidi Bucher. Metamorphoses” (2021), “Franz Erhard Walther. Shifting Perspectives” (2020) and “Miriam Cahn. I as Human” (2019). Baumann is also responsible for a series of new productions by emerging international artists addressing contemporary transnational and ecological challenges.

On the occasion of Cecilia Vicuña’s visit to Munich, Salta art is organizing a poetry reading performance by the artist. The event will unfold in a multilingual combination of Spanish, English, Quechua, Guarani, and German. Conceived as a focused gathering for poets, it is not open to the general public.

Eunjin Yoo returns to Munich to discuss her recent residency at Pivô, São Paulo, in a conversation with Lydia Antoniou, curator at Haus der Kunst.

Eunjin Yoo’s multidisciplinary practice spans installation, sound, sculpture, video, and performance. Her work explores how cultural memory and identity are shaped through shared histories. Often developed through fieldwork and collaboration, her projects weave together sonic fragments, material traces, and lived experience.

During her time in São Paulo, Yoo collaborated with local musicians, exploring rhythm as a way to shape space, gesture, and storytelling. By blending field recordings from Bom Retiro’s garment workshops with Afro-Brazilian rhythms such as roda de samba and candomblé, she created evolving compositions that merge music, movement, and spatial experience. Her research reveals the “unwritten score” of samba, exploring how rhythm circulates through bodies, communities, and generations.

As part of her residency, Yoo undertook a research trip to Rio de Janeiro, the birthplace of samba, to study the material and performative dimensions of sound and percussion. Working with musicians, instrument makers, and archives, she investigated how samba’s rhythms are transmitted and embodied through gesture, voice, and collective memory rather than written notation.

The conversation will focus on Yoo’s artistic process during her residency in Brazil – how rhythm and collaboration became a means to engage with questions of migration, labor, and cultural memory within contemporary artistic practice.

In collaboration with PS61 Studios.

Eunjin Yoo (Daegu, 1992) is a South Korean artist based in Munich whose practice moves across installation, sound, sculpture, video, and performance. Her work explores how cultural memory and identity are shaped through migration, labor, and shared histories, often emerging from fieldwork, collaboration, and close engagement with local contexts. Yoo weaves together sonic fragments, material traces, and lived experience to examine how traditions are reinterpreted today. She studied visual arts in Daegu, Berlin, and Munich, graduating in 2025 under the mentorship of Prof. Alexandra Bircken and Prof. Raphaela Vogel, and was the awarded artist of the Salta art Residency at Pivô São Paulo (Aug–Nov 2025). Her work has been presented in various spaces, including MEWO Kunsthalle (Memmingen), Neuworkshop, Lovaas Projects (Munich), Kunstarkaden (Munich), AkademieGalerie (Munich), The Pool (Düsseldorf), Goldberg Galerie, Kunstpavillon, and Nuovo Gallery (Daegu).

Lydia Antoniou is a curator and architect whose work engages moving image, the technological conditions of contemporary image-making, and live programming as open forums for exchange. At Haus der Kunst München, she navigates the interstices of liveness and spatial production, exploring alternative modes of exhibition-making that invite the public into resonant encounters shaped by evolving relations of space and time.

Pivô Research welcomes everyone interested in gaining an inside look at the artists’ ateliers. As part of Pivô’s Campo Aberto artist-in-residence Eunjin Yoo opens her workspace to the public, where visitors have the opportunity to talk to the her and explore the ongoing projects she has been developing during her residency at Pivô. Her practice moves across installation, sound, sculpture, video, and performance, exploring how cultural memory and identity are shaped through migration, labor, and shared histories. Her works often emerge through fieldwork and collaboration, weaving together sonic fragments, material traces, and lived experience. As part of the Open Studio at, Yoo will present an interactive sound and rhythm performance Emptying Silence (Ressonâncias da Chuva) in collaboration with Arquétipo Rafa. The 30 min long performance is a living sketch that offers insight into her process and invites the audience to take part and engage throughout.

During her residency at Pivô she is focusing on the volatile and material qualities of sound and collaborating with local artisans to create hybrid percussive instrumental objects. She is immersing herself in São Paulo’s percussion ecosystem, combining pandeiro practice, field recording and modular sculpture. Her focus is on how rhythm is transmitted beyond notation—through gesture, voice and collective memory. She is experimenting with contact microphones and hybrid percussion objects, developing drawings and scores based on listening sessions in rodas de samba, and testing the first elements for small percussion-based sculptures.

As part of her residency at Pivô, Eunjin Yoo traveled from São Paulo to Rio de Janeiro, the birthplace and heart of samba’s musical ecosystem, to continue her research on the material and performative qualities of sound and traditional percussion instruments. There, she engaged with musicians, instrument makers, and archives to study how samba’s rhythms are transmitted and embodied through gesture, voice, and collective memory, rather than written notation.

Highlights of the trip included sessions with leading percussionists Marcos Suzano and Sérgio Krakowski, hands-on study of pandeiro techniques, and participation in a Candomblé percussion class, offering insight into the rhythmic, gestural, and spiritual foundations that have deeply influenced samba. Yoo also explored second-hand markets and instrument workshops to source materials for future sculptures and installations, documenting rhythm practices as part of her ongoing project.

Her research emphasizes the unwritten score of samba, revealing how rhythm circulates across bodies, social spaces, and generations.

Opening times:

Saturday, 18 October 2025, 1-9 PM, Performance at 2 PM
Sunday, 19 October 2025 1-9 PM, Performance at 3:30 PM

Pivô, Av. Ipiranga 200, São Paulo

The entrance is free.

The Open Studio at AIR-M Ebenböckhaus presents works and projects developed during Berger’s residency. Her practice explores the power of images in shaping collective identities across textiles, digital media, and installation.

Alongside her studio production, Berger has been investigating the legacy of German shadow theatre during her stay in Munich, a research that continues to inform her interest in the migration of images and stories across geographies.

Organised by the Department of Arts and Culture, Artist in Residence – Munich, Ebenböckhaus in collaboration with Salta art.

The exhibition Luz del Sur presents works created by artist Gala Berger during her residency at AIR-M Ebenböckhaus.

Gala Berger works across disciplines, drawing from her involvement in independent spaces, textile practices, and collaborations within activist groups. These facets and cooperative works inform and nourish her textile collage pieces, blurring the boundaries between work and collective activity. Her practice unfolds through collecting materials, exchanging, and listening—approaches that shape both the content and form of her works.

A central concern in her practice is the construction of images from open archives to reflect on repair within the Latin American context. By assembling commonly circulated or underexamined visual material, she evokes overlooked narratives—especially those marginalized by colonial Western frameworks—and connects them to contemporary urgencies. Her installations incorporate a wide range of elements: water, fabrics, pigments, soil, digital files, tablecloths, paper, prints, and oral histories. These are composed into mobiles, wall hangings, and large-format textile works.

Luz del Sur [Südliches Licht] continues this line of work. Produced in Munich during the summer of 2025, the series takes its title from an electric utility company in Lima, where the artist currently lives. Here, the reference becomes a point of connection—between cities, between dim light and shadow, organic matter and industrial surfaces. The works also reflect Berger’s research on the history of German shadow theatre carried out during her residency, where she revisited local collections and archives to trace possible links with Latin American narratives. In this way, the exhibition expands her interest in hybrid traditions and in how images and stories migrate across geographies.
Fragmentation is another recurring element: multiplicity as a method. Like whispers from diverse backgrounds conversing simultaneously, the works emphasize a collective, plural, and mutable dimension—a kind of practice that speaks of many worlds.

Gala Berger (b. 1983, Argentina) is an artist, curator, and researcher based between Lima and Mexico City. Her work is grounded in Latin America and often unfolds through the creation of independent platforms. She is a member of Retablos por la memoria, a collective producing street interventions for human rights in Peru, and Colección Cooperativa, an experimental project exploring collective ownership in art. From 2018 to 2025, she co-founded and ran Casa MA, a space dedicated to diverse identities in Central America.
Berger was a fellow at ICI Kampala, Uganda (2022), and at RAW Académie CURA #6 in Senegal (2019). In Buenos Aires, she co-founded La Ene – New Energy Museum of Contemporary Art (2010–2020) and the Paraguay Printed Art Fair. Her work has been presented in exhibitions across cities including Santo Domingo, São Paulo, Lima, Los Angeles, Mexico City, Buenos Aires, Seoul, Querétaro, Sorocaba, Medellín, Montreal, Tampere, Rio de Janeiro, San Juan, San José, Guatemala City, Stockholm, Santiago, and Rosario.
Since 2022, Berger has collaborated with policymakers from the European Commission’s Directorate-General for Environment and researchers from the Joint Research Centre on a project concerning agriculture in the Amazon. This initiative also includes Shipibo artist Metsá Rama and explores the intersections of art, ecology, and Indigenous knowledge.

Organised by Salta art, in collaboration with Space nn.
Berger is currently an artist in residence at AIR-M Ebenböckhaus, a collaboration between the City of Munich’s Department of Arts and Culture and Salta art.

Exhibition text by curator Laura Ganda.

Opening: Wednesday, September 17, 6 PM

Opening hours: Friday–Sunday, 2–6 PM

Or by appointment: info@saltaart.org

As part of her residency in Munich, Gala Berger gave an artist talk in Schirin Kretschmann’s class, reflecting on her transnational practice shaped by feminist, decolonial, and collaborative approaches. In the talk, she shared her artistic journey, shaped by her experiences and research across Latin America, Africa, and Europe. Using found materials, references to pre-Columbian art, Caribbean poetry, and digital databases, she explores themes of identity, colonialism, restitution, and cultural memory through a mix of textiles and digital 3D imagery.

Berger traced her trajectory from Costa Rica and the Caribbean to Peru, West Africa, and Germany, sharing how local political contexts, restitution debates, and collective memory influence her work. She addressed topics such as extraction, invisibility, and the politics of museum collections, notably through her research on looted artefacts, Interpol’s database, and the Humboldt Forum. Her recent pieces explore how spiritual, ecological, and cultural forms of knowledge—often made inaccessible—can be reactivated through artistic processes.

Throughout, she emphasized the tension between digital imagery and material presence, questioning dominant narratives and proposing speculative, embodied counter-archives.

Afterwards she offered one-on-one conversations to interested students of the Academy.

In collaboration with BMW, Salta art presents the screening of Crash (2023), a film by Rio de Janeiro–based artist Gabriela Mureb, followed by a conversation with the artist, Janine Thiess (Business Development Circular Economy, BMW Group), and Christiane Pyka (Spokesperson, BMW Group Cultural Engagement), who moderated the discussion.

The event took place on Saturday morning, May 10, at Kino im Bayerischen Hof as part of the VARIOUS OTHERS program.

Crash was developed during Mureb’s residency at AIR-M Ebenböckhaus in Munich in 2023, in partnership with the City of Munich’s Department of Arts and Culture. The film was realized in collaboration with the BMW Recycling and Dismantling Centre (RDZ) in Unterschleißheim, where Mureb conducted her research, filmed the disassembly of a test vehicle, and sourced car parts later used in sculptural works.

In Crash, Mureb reflects on efficiency, sustainability, and the afterlife of machines. The film transforms industrial processes into a visceral meditation on mortality and materiality. Shot using GoPro cameras, it blurs the boundary between human and machine, prompting viewers to reconsider the agency of matter within systems of circular economy.

In the conversation, Mureb traced the evolution of her practice from performance to the construction of kinetic sculptures—machines that express rhythm and movement without the human body. Her longstanding engagement with motors and mechanical components began in Brazilian junkyards, where she explored the sculptural potential of industrial debris.

The discussion addressed machines as both technical and cultural artifacts. Mureb likened them to archaeological remains—embodying the ideas, contexts, and material conditions of their production. She described the RDZ as a physically affecting space, where the scale and force of industrial dismantling shaped the film’s formal and conceptual framework.

Janine Thiess provided insight into BMW’s approach to circularity, explaining how the dismantling of prototypes serves as a model for reuse, informing future design strategies. What appears as an endpoint—the destruction of a vehicle—is, in fact, the beginning of new material lives.

Back in Brazil, Mureb continued working with car parts and welding techniques acquired in Munich. Her sculptural work shifted toward a more material-responsive approach, using discarded auto components sourced from repair shops—objects that carry traces of wear and usage, and with them, new narrative and formal possibilities.

Learn more about BMW Group Cultural Engagement

Date: Saturday, May 10, 11:30 AM

Join artist Mercedes Azpilicueta on a performative walk through Munich, retracing the footsteps of Anna Mary Howitt as described in her book An Art Student in Munich (1850). This collective, embodied act unfolds through key locations, where selected passages from Howitt’s writings will be read aloud, bridging her reflections with the present. The walk includes a visit to Azpilicueta’s exhibition at Luitpoldblock, where she expands this dialogue, before concluding at Bayerischer Hof, where Howitt stayed in 1873.

Date: Thursday, May 8, 5 PM

Starting point: Instituto Cervantes München, Alfons-Goppel-Straße 7, 80539 Munich

Ending point: 6 PM, Bayerischer Hof, Promenadeplatz 2-6, 80333 Munich

The walk takes place in the frame of the exhibition An Art Student in Munich, on view at Luitpoldblock, Salvatorplatz 4, 80333 Munich, until May 18. In collaboration with Instituto Cervantes München and as part of Various Others.

Open to all students of the Academy of Fine Arts, Munich.

In this workshop, Mercedes Azpilicueta will work collaboratively with students on embodied and speculative writing, engaging with excerpts from An Art Student in Munich (1853) by proto-feminist British artist Anna Mary Howitt.
Students will participate in speculative writing exercises that reimagine the city—today or in the future—describing it from an embodied perspective, capturing its shifting landscapes, and sensing its layered histories.
These reflections will continue to take shape in the exhibition space, where we will work with modular sculptures—rearranging and responding to them as extensions of our writing. How do words and movement transform space? How do past and present collide in our perceptions?

The workshop takes place in the context of the exhibition An Art Student in Munich by artist Mercedes Azpilicueta, on view until 18 May at Luitpoldblock, Munich.

Mercedes Azpilicueta (La Plata, Argentina, 1981) is a visual and performance artist from Buenos Aires who lives and works in Amsterdam. Her artistic practice brings together various characters from the past and present who approach the vulnerable or collective body from a decolonial feminist perspective. Through fluid and associative connections, she counters rigid historical narratives to dismantle them and create space for affective and dissident voices to emerge. Her work manifests in performative and sculptural installations, inspired by speculative and fictional Latin American literature, neo baroque art history, contemporary popular culture, and new materialism theory. Through collaborative and interdisciplinary practices, she combines “precarious” craft-based techniques—historically associated with obsolete domestic knowledge—with industrialized productions.

She was a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam in 2015-16 and received the Pernod Ricard Fellowship in 2017. Her solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); and MAMBA, Buenos Aires (2018). Her work has been presented at Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all in 2018); CA2M, Móstoles (2017); Onomatopee, Eindhoven (2016); TENT, Rotterdam (2015); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

Metabolic Sessions, a project exploring contemporary creation by the Instituto Cervantes in Munich, promotes the vision of Spanish-speaking artists of various nationalities. Inspired by Clémentine Deliss’s idea of renewing museums, this project rethinks cultural activities to uncover new perspectives. In 2025, Salta art presents an exhibition by artist Mercedes Azpilicueta.

By revisiting the book An Art Student in Munich, Argentine artist Mercedes Azpilicueta connects the protofeminist perspective of Anna Mary Howitt, who navigated the male- dominated art world of the 19th century, with contemporary themes of diversity, equity and inclusion. Known for exploring radical education and spirituality in art, Azpilicueta amplifies the historically marginalized contributions of women. Her analysis shows how artists like Howitt challenged conventions, highlighting a legacy of voices in the artistic discourse long before their formal recognition.

Through textile works, performance, and installations with objects and drawings, Azpilicueta rethinks art history, giving poetic voice to overlooked narratives and reexamining the legacies of women in art. Aware of the gender inequalities and hierarchies that restricted women’s access to academies, training spaces, and exhibitions in the late 19th and early 20th centuries, Azpilicueta recovers female figures who, despite the limitations they faced, made significant contributions to culture.

For the exhibition, Azpilicueta focuses on the years British artist Anna Mary Howitt spent in Munich, where she arrived in 1850. Associated with the Pre-Raphaelite Brotherhood and the daughter of a suffragist mother, Howitt published articles about her life in Germany, which were compiled in the book An Art Student in Munich (1853). Denied the opportunity to develop a career as a painter alongside her male colleagues, Howitt turned to spiritualism, becoming a medium and using drawing to communicate with the beyond. Her mystical drawings are expressions of abstract art, created long before Kandinsky, Mondrian, and other avant-garde artists abandoned figuration. Howitt’s forms do not correspond to empirical experience, and it is precisely this detachment from the visible world that makes her drawings approach the spiritual and the mysterious.

The exhibition features a large-scale installation that includes sculptures, drawings, and carpets inspired by Anna Mary Howitt’s experiences in 19th-century Munich. Three modular sculptures, crafted from second-hand easels, period furniture, leather, and repurposed materials, reference the shared studio space Howitt described in her book. These sculptures, designed in collaboration with Katharina Kasinger, are transformable, emphasizing fluidity, hybridity, and the merging of subjectivities. Azpilicueta’s drawings, integrated into carpets, provide a poetic reimagining of Howitt’s journey, bridging historical narratives with contemporary feminist perspectives. The installation as a whole invites reflection on women’s artistic contributions and the resilience of overlooked histories.

In revisiting Munich—a city that has long nurtured the imagination of artists—she uncovers hidden stories, reaffirming the significance of these silenced voices in shaping culture.

Opening: Friday, 21 March, 6 PM

Duration: 21 March – 18 May

Opening Hours: Thursdays to Sundays, 12-6pm, visits also possible by appointment at info@saltaart.org

Location: Salvatorplatz 4, Luitpoldblock, 80333 Munich

Production in collaboration with Katharina Kasinger

Exhibition design in collaboration with Vanina Scolavino

Presented in collaboration with Instituto Cervantes Munich.

Mercedes Azpilicueta (La Plata, Argentina, 1981) is a visual and performance artist from Buenos Aires who lives and works in Amsterdam. Her artistic practice brings together various characters from the past and present who approach the vulnerable or collective body from a decolonial feminist perspective. Through fluid and associative connections, she counters rigid historical narratives to dismantle them and create space for affective and dissident voices to emerge. Her work manifests in performative and sculptural installations, inspired by speculative and fictional Latin American literature, neobaroque art history, contemporary popular culture, and new materialism theory. Through collaborative and interdisciplinary practices, she combines “precarious” craft-based techniques—historically associated with obsolete domestic knowledge—with industrialized productions.

She was a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam
in 2015-16 and received the Pernod Ricard Fellowship in 2017. Her solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); and MAMBA, Buenos Aires (2018). Her work has been presented at Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all in 2018); CA2M, Móstoles (2017); Onomatopee, Eindhoven (2016); TENT, Rotterdam (2015); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

Mercedes Azpilicueta’s work explores women’s desires, the hidden lines of history, and the complex power dynamics that shape our world. As she puts it, she is drawn to embracing the “differences, rhythms, and polycentrism” of reality. In this talk, Azpilicueta will delve into her most significant works, sharing insights into her research and creative process, in conversation with Florencia Malbrán. Throughout the discussion, references will also be made to pioneering Latin American artists, whose legacies are gaining new relevance today, such as Raquel Forner and Lea Lublin.

In collaboration with Instituto Cervantes Munich

Mercedes Azpilicueta (La Plata, Argentina, 1981) is a visual and performance artist from Buenos Aires who lives and works in Amsterdam. Her artistic practice brings together various characters from the past and present who approach the vulnerable or collective body from a decolonial feminist perspective. Through fluid and associative connections, she counters rigid historical narratives to dismantle them and create space for affective and dissident voices to emerge. Her work manifests in performative and sculptural installations, inspired by speculative and fictional Latin American literature, neobaroque art history, contemporary popular culture, and new materialism theory. Through collaborative and interdisciplinary practices, she combines “precarious” craft-based techniques—historically associated with obsolete domestic knowledge—with industrialized productions.

She was a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam
in 2015-16 and received the Pernod Ricard Fellowship in 2017. Her solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); and MAMBA, Buenos Aires (2018). Her work has been presented at Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all in 2018); CA2M, Móstoles (2017); Onomatopee, Eindhoven (2016); TENT, Rotterdam (2015); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

Florencia Malbrán (Buenos Aires, 1979) is a curator and writer with a distinguished career in renowned international museums and extensive academic experience. She has organized exhibitions in various countries, including Argentina, the United States, Canada, Brazil, Colombia, and Paraguay. Among her curatorial roles, she has worked at MALBA – the Latin American Art Museum of Buenos Aires, the Museum of Modern Art of Buenos Aires, and the Pinacoteca do Estado de São Paulo. In addition, she was the international Hilla Rebay fellow at the Guggenheim museums in New York, Bilbao, and Venice. Malbrán has worked closely with collectors and institutions for collection expansion and curatorial project implementation. Malbrán teaches at the University of San Andrés and New York University in Buenos Aires and has been a visiting professor at institutions such as Leuphana University in Germany and Brown University in the United States. She is currently working on a new book project on the redefinition of 20th-century Latin American art, funded by a grant from the NYU Global Faculty.

This exhibition showcases works created by resident artists Julia Retz and Andrés Aizicovich during their residency, focusing on memory, the body, and tradition. Through sculpture, video, and performance, the artists examine the weight of history, architecture, and collaboration.

Julia Retz transforms architectural imagery into tactile objects using latex, evoking qualities of both skin and structure to explore what buildings conceal beneath their façades. In dialogue, Andrés Aizicovich presents a hybrid sculpture—a wind instrument activated by three performers—that reflects themes of cooperation, transmission, and harmony.Organized by Salta art in collaboration with space n.n.

Opening: Friday, 13th December at 6 PM.

The exhibition will reopen on January 7th, running until January 17th, by appointment at info@saltaart.org only.

Resident artists Julia Retz and Andrés Aizicovich have been exploring themes of memory, architecture, and collaboration during their residency at AIR-M Ebenböckhaus in Munich. Julia reimagines historical buildings and their layered narratives, using materials like latex to examine the boundaries between visibility and concealment. Andrés presents a sculptural wind instrument that merges sound, performance, and functionality, emphasizing shared effort and collective experience.

The Open Studio at Ebenböckhaus offers an opportunity to meet the artists, discover their creative processes, and experience the works developed during their residency. At 5 PM, curator Anna Schneider leads a discussion with the artists, providing deeper insights into their practices and ideas.

Organised by the Department of Arts and Culture, Artist in Residence Munich – Ebenböckhaus. Curated by Salta art.

As part of her residency Chilean curator Mariairis Flores Leiva presents her work at Espacio218, a platform
in Santiago’s Plaza de Armas. Founded in 2022, Espacio218 explores art’s
intersections with social dynamics in urban settings. Her talk explores curatorial
strategies for marginalized communities and her ongoing projects on Chile’s colonial
past.

Mariairis’s curatorial practice is deeply informed by feminist theory and strongly influenced by her long-term collaboration with artist Seba Calfuqueo, whose work challenges Chile’s colonial legacy while questioning gender and identity from a Mapuche perspective.

As part of his residency, artist Andrés Aizicovich presents his artistic approach to answering the question, ‘How can speech be transformed into matter?’ to Klasse Vogel at the Academy of Fine Arts in Munich.

In Aizicovich’s view, the voice manifests as both a tool and an ethereal sculptural force, functioning not only as a mediator in interpersonal relationships but also as an activator of the world, an entity that shapes our understanding and moulds our subjectivities. His interactive machines use breath, smoke, and song as illustrative forms of voice and communication, offering non-phonetic ways to reference speech.

As part of her residency at Ebenböckhaus, Brazilian artist Julia Retz gives a guest lecture to Klasse Wermers at the Academy of Fine Arts in Munich, discussing the reimagining of the roles of furniture and architecture in shaping inclusive spaces.

This perspective plays a central role in Retz’s work, which sees architecture as extending beyond physical structures to embody historical and political narratives that influence how we interact with spaces. Through installations in both public and private settings, Retz challenges traditional roles of architectural elements and explores their embedded power dynamics through the use of flexible materials like rubber, which contrasts with the rigidity of conventional architectural forms.

We are excited to announce the launch of Salta Editorial, a new publishing initiative led by Agustina Strüngmann and Vanina Scolavino. This project supports magazines, books, and publications by artists in our network, fostering stronger connections between South America and Munich’s art scenes.

Our first publication, a special edition of El Flasherito, created in collaboration with El Flasherito in Buenos Aires, will be presented at Super BOOKS 5.

El Flasherito is an independent magazine co-founded by artist-in-residence Andrés Aizicovich, along with Leopoldo Estol and Liv Schulman. Known for sparking critical conversations around contemporary art, this edition features seven texts from previous issues, translated into English to reach a wider audience.

Visitors at Super BOOKS 5 can pick up this special edition and discover El Flasherito’s unique approach to accessible, artist-driven publishing, bridging the gap between critics, artists, and readers to foster deeper dialogue in the arts.

For those who missed Chiaroscuro, 2024 by Alfredo Jaar, some posters of the work will also be available at the fair.

Since its start in 2019, Super BOOKS has become a key forum in the artist book scene, bringing together nearly 70 artists, designers, alternative publishers, and institutions annually to showcase publications that challenge traditional bookmaking. The event emphasizes accessible publishing with fair pricing and direct distribution, offering a fresh alternative to mainstream models.

We are looking forward to welcoming you there!

As part of opening his studio, artist-in-residence Vincent Scheers shows his two newest fims, that he created during his residency at Pivô Pesquisa.

Saturday & Sunday, 19–20 October 2024
4 PM: “Quem merece o bronze” [Who Deserves the Bronze] (8mm Film)
Pivô Library

6 PM Saturday / 5 PM Sunday: “no fim, é apenas o começo” [in the end, it’s just the beginning] (16mm Film)
Pivô Balcony

The entrance is free.

Artist-in-residence Vincent Scheers opens his workspace to the public as part of Pivô’s Campo Aberto, where visitors have the unique opportunity to observe his creative process firsthand and explore the ongoing projects he has been developing during his residency at Pivô Pesquisa. A workshop by Vincent and screenings of his newest films are also part of the open studio.

Opening times:
Saturday, 19 October 2024, 1–7 PM
Sunday, 20 October 2024, 12–6 PM

The entrance is free.

Salta art invites curators from South America for the second and final edition of its collaboration with Sorry Press and its space in Munich’s Wiener Platz. The exhibition features a public intervention by the renowned Chilean artist Alfredo Jaar, curated by Espacio Temporal as part of Various Others. The work consists of 14 flags presented around the square, as well as a selection of printed posters available inside the kiosk for visitors to take. In addition, the posters are displayed in 78 different U-Bahn stations across the city of Munich, for 10 days during the run of the exhibition. The visual language of the posters is symbolically charged, presented in colors representing different European national flags, the European flag and, in conjunction with the Gramsci quotation, directs attention to a much-needed poetic and political intervention.
This exhibition is supported by Salta art.

Alfredo Jaar (Santiago, 1956) is an artist, architect, and filmmaker who lives and works in New York. His work has been shown extensively around the world. He has participated in the Venice Biennial (1986, 2007, 2009, 2013), São Paulo Biennial (1987, 1989, 2010, 2021) as well as Documenta in Kassel (1987, 2002).

Espacio Temporal is an independent, non-profit exhibition space in France dedicated to fostering dialogues between contemporary artistic practices from Latin America, the Caribbean, and Europe. This innovative platform presents exhibitions, publications, architecture, film, music, and performance. As an ephemeral project that defies institutional norms, it serves as an experimental and collaborative space for friendships and creative energies. Curator Sofía Lanusse and artist Iván Argote have spearheaded Espacio Temporal since 2020.

This exhibition is supported by Salta art, in collaboration with Espacio Temporal and Sorry Press.

Opening Hours: Mon – Fri 1-5pm, Sat – Sun 12-6pm

Address: Wiener Platz 9. 81667 Munich

As part of Sarah Theurer’s residency program in Buenos Aires, Theurer gives a talk about her work, curating as programming, and the exhibition as a responsive medium. Theurer delves into her curatorial approach, emphasizing the importance of engaging with local students and exchanging ideas within a different cultural ecosystem.

The talk, titled “Echoes – Curating Beyond the Exhibition”, explores her experiences over the past five years with generative, site-specific, and durational projects. She outlines curatorial methods that shift focus from the art object to the art experience. Key themes include rhythm and sensitivity to sound, which help disentangle curating from a single-voiced selection process and re-invent the curator as a game master.

Following her presentation, attendees reflect on experiential exhibitions, live art in museum spaces, and curating outside the traditional gallery setting.

The talk is a collaboration with the Art Department of the Universidad Torcuato Di Tella.

Bio

Sarah Theurer (Berlin, 1988) is a curator and editor specializing in time-based art practices and techno-social entanglements. Since joining Haus der Kunst, Munich in 2020, she has spearheaded ground-breaking exhibitions and actively contributes to discussions on emerging technologies such as blockchain, AI, and sound in the exhibition context. Her curatorial practice emphasizes interdisciplinary collaboration and challenges deterministic thinking to contribute to a transnational transformation in the contemporary arts landscape. She regularly publishes in catalogues and
magazines.

NAT GEO, curated by Argentinian curator Violeta Mansilla, focuses on nature, culture, and technology. Presented as a street-selected scroll, it sets the scene with post-apocalyptic landscapes, open-air landfills, humanized animals, and the emergence of new species. It prompts the question: Is this the end or the beginning of a new world?

As part of the Various Others Spring Edition, the event will feature the works of South American artists, including Masi Mamani, Florencia Palacios, Monica Heller, Sofia Torres Kosiba & El Pelele, Rafael Bqueer, Daiana Rose and Luiz Roque, at the Sorry Square market stall on Wiener Platz.

Violeta Mansilla (Santa Fe, Argentina, 1987) is an independent curator, producer, and teacher whose work explores queer identities, community, and performance through hybrid and disobedient practices.
Since 2015, she has directed UV Estudios, an art residency, research, and exhibition project (2015-2020 in Buenos Aires, ongoing in Santa Fe from 2022). From 2020 to 2022, she also served as curator and director of the Fundación Ama Amoedo (Uruguay).

Curator Amanda Carneiro returns to Munich at the end of April, having originally been invited by Salta art and the City of Munich to undertake a residency at the City of Munich’s Villa Waldberta in Feldafing on Lake Starnberg in 2022. Carneiro currently holds positions as artistic organizer of the 60th Venice Biennale and curator at the MASP in São Paulo. In a conversation moderated by Emma Enderby, chief curator at hdk and upcoming curator of KW in Berlin, Carneiro talks about her curatorial practice, the highlights of the Venice Biennale curated by Adriano Pedrosa and the significant contributions of artists from the Global South.

In collaboration with Kunstverein München.

In the context of the exhibition Inside Other Spaces: Environments by Women Artists 1956–1976 at Haus der Kunst (8.9.23 – 10.3.24), this conversation between renowned Argentinian artist Marta Minujín, artistic director of Haus der Kunst, Andrea Lissoni, and Marina Pugliese, co-curator of the exhibition as well as Director of Mudec – Museo delle Culture Milan, explores Minujín’s influential interactive installations—known as “environments”—starting from the iconic ¡Revuélquese y viva! (1964).

As one of the early proponents of happenings, performance art, soft sculptures and video, Minujín is among the most important Argentinian artists of her generation. Her sweeping retrospective exhibition Marta Minujín: Ao vivo was recently showing at Pinacoteca in São Paulo and  the Jewish Museum in New York.

In collaboration with Haus der Kunst.

Diogo da Cruz and Fallon Mayanja present the first two episodes of their collaborative project AXECIDYR!

Synopsis: Screening of part one and two of a science fiction series that weaves fragments of the Afrofuturist legend of the so-called Drexciya civilization with concerns about the potential consequences of deep-sea mining. The screening will be followed by a discussion with artist Diogo da Cruz.

Entry until 7:00 PM through the Vitrine Gallery (Shop 54 Copan, Pivô ground floor)

Pivô Research welcomes visitors interested in gaining an inside look at the artists’ ateliers for one week.

Diogo da Cruz, who has spent a significant portion of his residency at his studio in Pivô, Sao Paulo, will also open its doors to the public, taking the opportunity together with Fallon Mayanja to screen their recent footage for the third part of the sci-fi film series “AXECIDYR” for the first time alongside other installations and sculptures.

Mon. to Sat. 1:00 to 7:00 pm.

Sun. 12:00 to 6:00 pm.

Gabriela presented the first cut of her new film, 𝘊𝘳𝘢𝘴𝘩. The film is the culmination of the work and research Gabriela conducted during her 3-month residency in Munich.

Mureb’s work addresses relationships among body, technology and the world, proposing that we listen to machines as a way of listening ot he path that produced them, continuously reenacted in their movements. Filmed at the BMW Recycling & Demolition Centre (RDZ), 𝘊𝘳𝘢𝘴𝘩 provides an opportunity to observe the Western world’s industrial heritage through the insides of a technical event.

Gabriela Mureb
Crash

23–24 September, 2 –7pm
Opening 22 September, 6pm

Florida Lothringer 13
In collaboration with Salta art

Crash presents the first public viewing of resident artist Gabriela Mureb’s new film shot at the BMW Recycling & Demontage Centre (RDZ). Gabriela is in the final stage of her three-month residency and the film will present her latest research into machines and mechanical processes informed by and produced at the site of the recycling plant.

Mureb’s work addresses relationships among body, technology and the world, proposing that we listen to machines as a way of listening to the path that produced them, continuously reenacted in their movements. Filmed at the BMW Recycling & Demolition Centre (RDZ), Crash provides an opportunity to observe Western world’s industrial heritage through the insides of a technical event.

Gabriela Mureb lives and works in Rio de Janeiro and is currently in residency at AIR-M Ebenböckhaus in Munich – a collaboration between Salta art and the Department of Arts and Culture of the City of Munich.

We’d like to thank to the BMW group, specifically Janine Thies and Christiane Pyka for facilitating this great collaboration, and the Florida team for hosting the project!

Exhibition text by curator Sarah Theurer.

The exhibition is supported by Florida Lothringer 13, the Department of Arts and Culture of the City of Munich and Salta art.

On September 21 artist-in-residence Will Fredo Furtado will be screening their film “OUR HOUSE” at Instituto Inclusartiz.  The film portrays the Queer Quilombismo of POSÁ SUTO, an Afro-Colombian cuir collective who run cultural and educational activities with youth and children in Colombian cities. Interweaving poetry, theoretical texts and clips from kids TV programs about colonialism, blending lived experience, history and maroon ecology to explore new black cuir poetics and subjectivity. The film has a runtime of 40’ 37’’ and will be shown in spanish with portuguese subtitles.

This event is part of Will Fredo’s residency, supported by Instituto Inclusartiz and Salta art.

In collaboration with Salta art, Contemporary And (C&), and Instituto Inclusartiz the tutors Will Fredo Furtado and Daniel Brazil will give a workshop open to emerging art critics in the early stages of their career. The workshop will provide a platform to discuss arts reporting, critical writing practice, develop necessary tools for writing reviews, commentary and essays, and to explore the challenges young critical writers face today, among many other topics.

Furthermore, participants will get the opportunity to link to a network of arts journalists contributing to C& with the possibility of publishing on C& online and other outlets.

Furtado is an afro-indigenous non-binary artist and writer exploring power dynamics, and the intersection of pop culture, decolonial thought, blackness, indigeneity, queerness and technology. Will is a deputy editor of Contemporary And América Latina – a dynamic contemporary art platform with a focus on art perspectives emerging from Africa, the African diaspora and the Global South. Teaching at the workshop will be the focus of their 10-day residency in Rio de Janeiro organized by Salta art and Intituto Inclusartiz in collaboration with C&.

For more information about how to apply visit Salta art’s application section or C& website

Through the construction of machines or appropriation of industrial parts, Mureb’s work is a mediation on the relationship between the world, bodies and technology. Situated between sculpture, installation, performance and sound, her works create a sensorial immediacy through vibration, sound, heat and smell. With work that evokes a techno-industrial imaginary, the artist proposes we listen to machines as a way of listening to the social and political structures that built them.

Gabriela Mureb (b.1985, Niterói) lives and works in Rio de Janeiro. She holds a PhD in Visual Arts from PPGAV / UFRJ and is Professor in the Visual Arts – Sculpture department at the Federal University of Rio de Janeiro. She recently participated in the 13th Mercosul Biennial in Porto Alegre, Brazil (2022) and was part of the 5th New Museum Triennial, Soft Water Hard Stone, in New York (2021). Recent solo exhibitions include; Rrrrrrrrrr, Central Galeria, São Paulo, (2017) and Corpos Dóceis, A Gentil Carioca, Rio de Janeiro, Brazil (2009). Recent group exhibitions include; Artist’s Artist, Galeria Luisa Strina, São Paulo, Brasil (2023); Tragedy!, Fortes d’Aloia & Gabriel, São Paulo, Brasil (2022), Garganta, CIAJG, Guimarães, Portugal (2022), presente a vida (é) política, Central Galeria, São Paulo, Brasil (2020) and a escatologia do corpo glorioso, Galeria Prego, Porto Alegre, Brasil (2019). Mureb participated in the Rumos Artes Visuais Program from 2011– 2013 and her work is part of the public collection of Museu de Arte do Rio, Rio de Janeiro, Brazil. Gabriela is represented by Central Galeria, Rio de Janeiro, Brazil.

Artist Gabriela Mureb (Brazil) is undertaking a residency at AIR-M Ebenböckhaus, Munich. The residency is a collaboration between Salta art and the Department of Arts and Culture of the City of Munich.

Founded in 1823, Kunstverein München is an innovative and controversial platform for contemporary art and its discourses.

Kunstvereine were not only places to present contemporary art, but above all for social exchange. In such places,  a critical awareness of “contemporaneity” could develop through active engagement with current art. It is precisely this central idea of a lively social exchange on uncertain cultural terrain that to this day has made the work of Kunstvereine an indispensable force in the network of cultural institutions – even as the political and social framework have changed.

In her lecture Dietrich traces the concept of Kunstvereine in social change to understand the extent of their role as a platform for innovative artistic practices. Dietrich uses the example of the first solo exhibition of Pati Hill, an American artist who pioneered experimentation with new graphic technologies such as photocopying.

Maurin Dietrich is a curator and the director of Kunstverein München. She is also a member of Salta’s council. She previously worked at KW Institute for Contemporary Art, Berlin. While there, Dietrich programmed performances, exhibitions, and publications. She also oversaw schir concepts, a residency program located in Tel Aviv and the 9th Berlin Biennale by DIS Magazine. She is the cofounder of Fragile, an exhibition and residency space in Berlin. She studied art history and comparative literature in Berlin and has taught since 2017 at the Universität der Künste in the Art in Context MA program as well as in the postgraduate program BPA (Berlin Program for Artists). She is a frequent contributor to Mousse Magazine, Cura and other publications.

To participate in the conference it is necessary to register online.

The lecture is in German and translated consecutively into Spanish thanks to the support of the Goethe-Institut.

A conversation between Kiki Mazzucchelli, Artistic Director, Galeria Luisa Strina, São Paulo; Maurin Dietrich, Director of Kunstverein München, and Florencia Malbrán, Curator, Eduardo F. Costantini Collection.

The conversation was framed on how the concepts of experience and artistic experimentation have evolved over time, engaging artists with a radical vision. Kiki Mazzucchelli presented the work of Flávio de Carvalho in the context of her recent Exhibition Flávio de Carvalho experimental at Sesc, Sao Paulo. Maurin Dietrich presented the work of Diamond Stingily, her first exhibition she curated at Kunstverein München and the work of Pippa Garner, the latest exhibition at Kunstverein München.
Florencia Malbrán presented artist’s Elena Dahn’s practice and Hable con ella, a project she co-curated at Museum Malba.

In dialogue with the Munich-based artist Frauke Zabel, curator Amanda Carneiro addressed connections between Munich and Brazil, the heritage of colonialism and the possibilities of changing institutions.

This event is supported by Salta art.
The Various Others Social Club series is supported by Phillips Auctioneers.

In this workshop we explored, through dance and movement, the structure of metamorphic animals, hybrid and mythological beings in the body. Our aim was to research the possibilities of bodies in a multi-species perspective and landscape, where the human is just one more form in the larger web of forms of life.

Public:

The workshop was aimed at all those interested in creating forms of themselves in contact with the themes of myth and nature.

Duration: 120′

Interview with Maria Noujaim.

Maria Noujaim has developed an artistic language from the relationship of sculptural form, live performance, and dance notation. Currently based in the highlands of Mantiqueira, Brazil, Noujaim’s practice departs from collaborative, workshop-based ways of making and involves rigorous observations and communion with flora and fauna.

At Schwabinggrad, Noujaim presents Leda and the Swan. An installation of two sculptures activated by Noujaim’s dance, the work is a minimal retelling of the aforementioned myth. Depicted in classical and modern painting, sculpture, poetry, and more, Leda and the Swan is the myth of the Spartan queen Leda, pursued by Zeus, who seduces and rapes her in the disguise of a swan. From this ignoble union, Leda gave birth to Helen, later known as Helen of Troy, the famous “face that launched a thousand ships” of the Trojan War. Like the Rape of Europa and other Greek myths of sexual violence and warfare, Leda and the Swan speaks to the brutal force of sexual subjugation that still resonates today.

Using her signature minimal sculptural forms, Noujaim creates an arena in which the narrative of Leda and the Swan is implied. Yet the space also offers itself as both a stage and a score for Noujaim’s performance: it provides the place where the performance happens as much as it ascribes the kind of movements that are possible. Based on her extensive studies of dance notation, Noujaim’s installations form a new kind of choreographic art that expresses itself equally though dance as through sculpture.

Curated by Giampaolo Bianconi

Check our insights section for a teaser of the performance!

Opening

Saturday, 10 Sep 2022, 5pm

Supporters

City of Munich Department of Arts and Culture

Schwabinggrad

Salta art

Maria Noujaim graduated in Dance from the Angel Vianna School (RJ) and Art History from PUC-Rio. Born in 1986, she lives and works in Rio de Janeiro and São Paulo. Her work stems from movements conformed between sculpture and language, with investigations into form and poetry. From a practice that begins in the body, it carries its own spatiality through the use of materials, drawings and the production of scores in the work with interpreters. The artist frequently expands her practice through pedagogical exercises and since 2019 she has been working with psychiatric patients from CAPS EAT at Engenho de Dentro, Rio de Janeiro. She had a solo show, “Restarts: four beginnings,” at Jaqueline Martins Gallery (São Paulo) and has participated in group shows in independent and institutional spaces such as Observatório (São Paulo), Change-Change (Budapest), Oi Futuro (Rio de Janeiro), Casa França-Brasil (Rio de Janeiro), Galeria Bruno Múrias (Lisboa), among others.  In 2020, she was selected for the Grants and Commissions Program Award of Cisneros Fontanals Art Foundation (Miami, USA).

For its first program, Salta art partnered with Kunstverein München to invite Más Arte Más Acción (MAMA) from Colombia.  What can be learned from how MAMA works?

MAMA will describe its experience in creating a ‘space to reflect’ from three vantage points: as a concept, as an artwork, and as a sustainable resource.

MAMA will discuss the idea of international residencies and exchange and the challenges faced in the present context of pandemic, climate and economic crises. It will also discuss how it is using connections generated by documenta 15 to activate a meaningful program for MAMA, its ecosystem, and its new allies in Germany.  At the end of the presentation, MAMA will take questions from the public.

The conversation is supported by the Department of Arts and Culture of the City of Munich and Salta art.

Más Arte Más Acción is a non-profit cultural foundation established in 2009 that seeks to generate critical thinking through art. The foundation’s base on Colombia’s Pacific Coast is the source of inspiration for artists and others who are invited to explore wide-ranging social and environmental issues. MAMA is embedded in a network of ecosystems including communities, collectives, organizations and nature. Since its inception, MAMA has offered an artistic residency program based on the notion of a Space to Reflect. This concept travelled to Kassel for documenta 15, opening spaces of reflection around a wide range of subjects. Its interests include climate justice and environmental rights; memory and the peace process; alternative non-capitalist ways of living in biodiverse territories; and Afro-film narratives.