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Cabinet is a specific area within the galleries booths in the main section of the fair. In Cabinet, one or more works by a single artist are exhibited. The aim of the section is to show important, unique, or emblematic works by modern and contemporary artists. A consulting committee determines the selection.

2017 Consulting Committee

Ana María Battistozzi (art critic and independent curator, Buenos Aires).
José Luis Blondet (curator of special projects at LACMA, Los Angeles).
Luiza Teixeira De Freitas (independent curator, Lisbon).

Since its inauguration in 2014, the Cabinet Section has been consolidated as a place both enabling artists to show off their special projects as well as posing a curatorial challenge for art galleries. With each new edition comes the opportunity to exhibit new meaning combinations and constructions aimed at organizing some in hierarchy and bring- ing certain findings into the light. For this edition, the consulting committee evaluated the projects presented and chose sixteen out of all of them. Thirteen of those projects belong to Argentine art galleries, whereas the remaining three are from other Latin American galleries.
Thus, the proposals selected display exper- imental representations from modern tradition mixed with conceptual processes and processes with a spatial expansion typical of nowadays explorations. Amongst the first type, it is clear the intent to grant notoriety to masters such as Jorge Pereira, César Paternosto and Rogelio Polesello (leading figures in the perceptual experimentation that was pivotal for the 60’s and 70’s), especially to some art works from their respective productions vested with an unquestionable historical signifi- cance. Such is the case of the series of still images named Cosmos presented by La Plata-born artist Jorge Pereira in 1967 during the V Paris Biennale held at the Musée d’Art Moderne, an event which was dominated by the peak of a kinetic art which had already been meet with acclaim at the previ- ous edition. In turn, Paternosto’s Cabinet space is integrated by several pieces from the 60’s and other more recent art works, including two works rebuilt in 2001 to honor the 30th anniversary of Paternosto’s historical exhibition, “La visión oblicua [The crosswise vision]”, held at Galería Carmen Waugh in 1971.
Lastly, Polesello’s selection rep- resents the art works he produced by the end the 50’s, which was strongly influenced by the Yuyde Vasarely exhibition at the Museo de Bellas Artes in 1958 which also marked many other young artists of that time. Leading this group, which is somehow an exhibition of the kindred representations of that time, heirs to the Concrete Abstraction, the selec- tion of unpublished drawings to be offered by the Cabinet section dedicated to Juan Grela flaunts great novelty throughout completely different records generated in the scenery of the province of Santa Fe. From yet another angle, the agitation of the 80’s resisting the dawn of the 90’s emerges in the shape of Liliana Maresca with a proposition bringing back the setup of the Espacio Disponible [The Available Space] exhibition displayed in December 1992 at Casal de Catalunya. There, the artist, who passed away in 1994, integrates the availability of real estate properties for sale or rental with the availability of the individuals interested, assuming it as her own.
On a different subject, there is nothing more appropriate than the Cabinet section for exhibi- tions making use of spatial occupation as a means to put sundry narrative together. One of them might be the “OVNI Archive” by Rosell Meseguer: through an extensive archive, she encourages deep reflection between our present time and the past behind the Cold War. Another one, set up by José Luis Landet, focused on a fictional character, Carlos Gómez, who addresses the issue of “Description and Translation” through images in catalogs which he carves up and later mends. Tania Candiani evokes Norman Cherner, innovator of the “Do It Yourself” design; Mónica Giron links several pieces of art work she created throughout her career, paying tribute to the survival in times of vast inclemency. Giron focuses in the construction of households, in the homes, in the land harbor- ing that home, as well as in the affections and emotions contained therein. This project, which appeals to the most elementary constructivevtechnology of the XIX century, exhibits, at the same time, an affectionate kinship to that of Martín Carrizo, a young artist from Córdoba. The interesting sculpture proposals posed by Carrizo actually derive from the unstable construction drive he detected in poor neighborhoods.
There is no doubt in that the work of Lihuel González around the translation of words into music could not have found a more convenient environment to lay out a small stage and play with the absence of a musician and the expectation of his arrival. Space is certainly of the essence when unfolding the pictorial processes propounded by Brazilian artist Mauro Piva; but so is the mounting of pieces, drawings and forms proposed by Elba Bairon and the relations systems struck by Cristina Schiavi’s figures with the vegetation in Buenos Aires; or by Marcela Astorga’s pieces, during her inquiry on knitting and weaves. Similar investi- gations with other different weaves led Peruvian artist Andrés Bedoya to delve on cloaks for death rituals. Each case opens for more possibilities to complete meaning in its broadest sense.
Ana María Battistozzi
José Luis Blondet
Luiza Teixeira de Freitas