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.

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.

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.

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.

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.

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 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.

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.

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.

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.