{"id":524868,"date":"2026-06-22T15:37:54","date_gmt":"2026-06-22T13:37:54","guid":{"rendered":"https:\/\/numero.com\/art\/art-art\/discovering-buenos-aires-contemporary-art-scene-with-maurizio-cattelan-2\/"},"modified":"2026-06-22T15:37:59","modified_gmt":"2026-06-22T13:37:59","slug":"discovering-buenos-aires-contemporary-art-scene-with-maurizio-cattelan-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/discovering-buenos-aires-contemporary-art-scene-with-maurizio-cattelan-2\/","title":{"rendered":"Discovering Buenos Aires contemporary art scene with Maurizio Cattelan"},"content":{"rendered":"\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Maurizio Cattelan in front of
Eternity<\/em>, a pop-up graveyard in Buenos Aires.<\/figcaption><\/figure>\n\n\n\n

It was around 10am. We were wandering through Recoleta Cemetery<\/strong> before the arrival of the hordes of tourists who came to take pictures of Eva Per\u00f3n\u2019s tomb. Winter was ending in the Southern Hemisphere. The weather was delightfully crisp and sunny. In a dark pathway, we ran into a worker cementing a tombstone. It read, \u201cThis one is for me<\/em>, if Macri stays in power. Ciao!<\/em>\u201d The tone had been set. The Argentina we\u2019d landed in was once again in the grip of a severe currency crisis, and was slowly drifting towards its umpteenth chaos. For better or for worse, Argentines are known for their resilience and pride that allows them to move mountains, even in times of crisis.\u00a0<\/p>\n\n\n\n

\u201cThe only stable thing we have in this country is a 91-yearold TV presenter<\/em>,\u201d Lolo<\/strong> and<\/strong> Lauti<\/strong>, an artist duo with whom we shared a caf\u00e9 con leche<\/em> and medialunas<\/em>, said half jokingly. They\u2019ve been working together since 2011, mostly in video and performance art. In 2015, with Violeta Mansilla, they founded UV Estudios, a gallery-cumproject space in the up-and-coming neighbourhood of Villa Crespo. They also started Perfuch<\/strong>, a performance art festival which every year brings together over 100 artists, and which also redefined performance as an artistic practice in its own right \u2013 a way of escaping the domination of experimental theatre, a major discipline in Buenos Aires. During our conversation, we mentioned how everything seems very dynamic and buzzing in the city. \u201cYes, but it\u2019s not easy to get funding or institutional attention. We may have made the cover of the national newspaper La Naci\u00f3n, but we\u2019re still poor!<\/em>\u201d<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
An artwork by Maurizio Cattelan.<\/figcaption><\/figure>\n\n\n\n

How ironic that at such a precarious moment in its history, what brought us to Buenos Aires was a project called Eternity<\/em> that consists in a pop-up cemetery for the living. Given recent events, it could also just as easily be a cemetery in which to bury the nation\u2019s debt. Programmed as part of Hopscotch<\/em> (Rayuela<\/em>), a multifaceted event curated by Cecilia Alemani for Art Basel Cities, Eternity<\/em> brought together more than 200 local artists who each submitted their interpretation of a tombstone. Tenderly caustic and playful in their depth, they bore witness to the vibrant creativity of porte\u00f1o<\/em> artists. <\/p>\n\n\n\n

The rest of Alemani\u2019s programming for Hopscotch<\/em> (Rayuela<\/em>) was, like the curator herself, overflowing with wit and vivacity, bringing art into the most unlikely places in the city without taking itself too seriously. It was as refreshing as it was stimulating for its different audiences. The title Hopscotch<\/em> (Rayuela<\/em>) is borrowed from the experimental novel by the Argentine author Julio Cort\u00e1zar, which is structured according to a nonlinear narrative and which, like the traditional playground game, functions in different sequences. <\/p>\n\n\n\n

From an abandoned silo to a former German brewery, Alemani\u2019s lighthearted itinerary mixed Argentine and international artists. Among the highlights were Eduardo Basualdo\u2019s revolving door (Perspective of Absence<\/em>), which opened onto the immensity of the Rio de la Plata at the end of an 800 m-long pier belonging to a fishermen\u2019s club; Alexandra Pirici\u2019s mesmerizing \u201cperformative environment,\u201d which featured 60 or so performers drifting and dancing through the space for hours on end; Alex Da Corte\u2019s Kermit the Frog, Even, an 18 meter-high Kermit balloon that was displayed half deflated in a former power plant; and Barbara Krueger\u2019s monumental Untitled (No puedes vivir sin nosotras\/You Can\u2019t Live Without Us<\/em>), a large-scale mural fresco painted in the colours of the Argentine flag on the side of an abandoned grain silo opposite the Ponte de la Mujer (\u201cbridge of the woman\u201d). <\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Comedian<\/em> (2019) by Maurizio Cattelan. <\/figcaption><\/figure>\n\n\n\n

We couldn\u2019t help but notice the recurrence of queer and feminist themes on the Argentine art scene, especially at a moment when the progressive part of the population was, yet again, fighting for the legalization of abortion. While we were there, a \u201cgreen wave\u201d of women wearing emerald-green scarves (whence the name they\u2019d chosen for their movement) was demonstrating across the country in support of the cause.<\/p>\n\n\n\n

So here we were, between two Hopscotch<\/em> (Rayuela<\/em>) stops, visiting galleries in Villa Crespo. Among all the people we met, there wasn\u2019t one who didn\u2019t mention Fernanda Laguna, a local artist, poet and general cultural agitator. In 2000, when the worst economic crisis in Argentina\u2019s history reached its peak, Laguna founded the now legendary artist-run gallery Belleza y Felicidad <\/strong>, which for many years was the crucible for all the emerging art and literature in Buenos Aires. She later moved the gallery to a favela (which in Argentina are known as villas miseria<\/em>, or misery towns) on the outskirts of the city, where it evolved into an experimental artbased education project for\u00a0disadvantaged children and teenagers.\u00a0<\/p>\n\n\n\n

Intrigued by Laguna\u2019s career path, we went to see a piece she was showing in a group exhibition a few blocks away at Nora Fish gallery<\/strong>. We ended up talking about the history of Latin American feminist movements with Fish<\/strong>, who was also showing a great show by Adriana Bustos<\/strong>. The conversation turned towards the pressure artists in this part of the world find themselves under to express a certain form of \u201cregionalism.\u201d As Fish explained, \u201cArtists here aren\u2019t expected to work on beauty, material or form. <\/p>\n\n\n\n

They\u2019re systematically, and often wrongly, linked to themes about indigenous peoples, gauchos, the desaparecidos <\/em>[the \u201cmissing\u201d people of the military dictatorship] and Evita Per\u00f3n<\/strong> \u2013 even if most of them don\u2019t go anywhere near those subjects. The conversation made us realize how much the temptation of exoticism could be an issue as soon as one leaves the main art centres \u2013 bascially New York, London and Paris \u2013 and to what extent, despite a supposed open-mindedness in the art world, classification according to regional clich\u00e9s could be experienced by artists as a curse that\u2019s difficult to break.<\/p>\n\n\n\n

\"Maurizio\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Maurizio Cattelan in Metz, France, in 2025. \u00a9 Louis Canadas for Art Basel.<\/figcaption><\/figure>\n\n\n\n

We ended our tour at Buenos Aires\u2019s oldest gallery, Ruth Benzacar<\/strong>, where Benzacar\u2019s daughter Orly<\/strong> explained to\u00a0us all the difficulties she has in representing only Argentine artists. A deliberate choice on the gallery\u2019s part in an art world that is centred on Europe and the U.S. We were soon joined by Catalina Urtubey<\/strong>, the director of El Gran Vidrio<\/strong>, a cutting-edge gallery located in a former petrol station in C\u00f3rdoba. \u201cVery few artists have managed to break through onto the international market. Once they do, they leave the Argentine scene for good<\/em>,\u201d she explained to us. <\/p>\n\n\n\n

It seemed to us that things were changing nonetheless. We met several artists from the new generation who were not only anchored in Buenos Aires but also had clear international perspectives and reach. Our lodestar in the city was Luna Paiva, a beguiling polyglot whose practice started with photography before evolving towards largescale bronze sculpture. <\/p>\n\n\n\n

On our way to the best parrilla <\/em>in town \u2013 Los Platitos\u2019 bife de lomo<\/em> makes you forget it\u2019s the fifth time in a row you\u2019re eating meat \u2013 Paiva introduced us to one of the oldest foundries in the greater Buenos Aires area, run by three brothers in the neighbourhood of Vicente Lopez. She works there with the founders who have made most of the sculptures you find in the city\u2019s public parks, along with most of the monuments in Argentina. Paiva was finishing a series of bronze versions of a basic plastic chair for an upcoming project at Faena Art Space in Miami.\u00a0<\/p>\n\n\n\n

We also met Nahuel Vecino <\/strong>in his brightly lit La Paternal<\/strong> studio. Vecino\u2019s work was familiar from a show organized a few years ago in the Los Angeles space Del Vaz Project<\/strong> by a young polymath called Jay Ezra Nayssan<\/strong>. It gave us a sense that smaller structures could be more beneficial and give a nuanced sense to transnational art movements. Vecino\u2019s work mixes references from Buenos Aires shantytowns and dark places with a serene Renaissance style and Greco-Roman divinities. A memo on his wall reads \u201cChardin, Boucher, Balthus<\/em>,\u201d and a book on his coffee table is titled Treasures from Tunisia\u2019s Bardo National Museum<\/em>. <\/p>\n\n\n\n

\"Maurizio\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Maurizio Cattelan in Metz, France, in 2025. \u00a9 Louis Canadas for Art Basel.<\/figcaption><\/figure>\n\n\n\n

We also paid a visit to artist Elena Dahn<\/strong>, who was clearly warding off any sense of \u201cregional art\u201d by working essentially on forms and material through the careful and performative manipulation of her latex-based sculptures-cum-paintings. Finally, and in a\u00a0totally different style, we ended up at legend and PopArt mentor Marta Minujin<\/strong>\u2019s extravagant house. There the 75-year-old artist gathered together pictures of herself with Andy Warhol<\/a><\/strong>, maquettes for her acclaimed Documenta 14 project in Kassel (a reenactment of her 1983 project The Parthenon of Books<\/em>), and an army of assistants working on her experimental paintings.\u00a0<\/p>\n\n\n\n

It was obvious to us that the city of Buenos Aires was aware of the importance of artists for its own development. Art Basel Cities was itself part of a larger project of urban development focusing on the southern fringes and the dodgy touristy neighbourhood of La Boca. There, Fundacion Proa <\/strong>has developed a second space dedicated to emerging artists, Laboratorio Proa 21, where we met Dani Zelko<\/strong>, who was installing a piece about police violence in the neighbourhood. Public institutions were all dolled up and ready for an international crowd to slide in: MAMBA and MALBA both opened shows featuring major pieces of Latin-American art \u2013 notably Abaporu (1928) by Tarsila do Amaral, considered the South American Mona Lisa<\/em>, at MALBA; while CCK (located in the former national post office, one of the most impressive buildings we saw) had organized a dreamlike food performance by artist Nicola Constantino. <\/p>\n\n\n\n

Private initiatives were also blooming, among them BSM Art Building<\/strong>, founded by real-estate entrepreneur and collector Guillermo Rozemblum<\/strong>. The latter offers working space and support to a rotating group of artists, including Max G\u00f3mez Canle<\/strong>, Leandro Asoli<\/strong>, Andr\u00e9s Aizicovich<\/strong>, and Eduardo Basualdo<\/strong>. Special mention to the Museo Xul Solar<\/strong>, a gem that features the artist\u2019s singular vision of a utopia focused on the creation of a universal language. We ended the week at a performance and dinner put on by hotel magnate Alan Faena<\/strong>, of Faena Art Center fame<\/strong> (Buenos Aires and Miami), and one of the best parrilleros<\/em> in town. Given his ability to grill meat to perfection, we asked him about his other qualities. \u201cDo you ride horses?<\/em>\u201d we asked. \u201cHere we ride the impossible. We have no choice!<\/em>,\u201d he answered.<\/p>\n","protected":false},"excerpt":{"rendered":"

It was around 10am. We were wandering through Recoleta Cemetery before the arrival of the […]<\/p>\n

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