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LA BUENA VIDA
parte II 

How can we re-think our own contradictions? What does collaboration mean?


Every day I confront myself with people inhabiting and developing their work inside the so-called art world, which seem to replicate a discourse around ‘collaborative practices’ and ‘building communities’ without deeply understanding what collaborative work means. They are hesitant of sharing information. They are suspicious of their fellow colleagues. We criticise a system yet we seem unable to stop replicating it from the moment we get out of bed.

Worried about the implications of the meaning of ´make your actions reflect your words´, I am interested in diving into a research, thinking and project practice involving contemporary artists, curators and thinkers from an horizontal perspective. I see myself as an art agent who observes the world critically through curatorial lens. I have been always interested in working among horizontal teams, exploring different ways of thinking through reading groups, publications and exhibitions among other platforms. I consider art as a transversal tool that can enable a dialogue with a panoply of interesting fields from the natural to the social and cultural ones. 

I am interested in those ideas, people, objects and things that can challenge my way of seeing and thinking the World.

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¿Cómo podemos re-pensar nuestras propias contradicciones? ¿Qué quiere decir COLABORACIÓN?


Todos los días me confronto a un mundo de personas que habitan y desarrollan su actividad en el “mundo del arte” quienes replican un discurso sobre prácticas colaborativas y construcción de comunidades sin entender la profundidad de lo que implica colaborar. Desde mi lugar de agente cultural que mira el mundo de forma crítica a través de lentes curatoriales me interesa indagar sobre prácticas de investigación, pensamiento y proyectos que reúnan artistas contemporáneos, curadores y pensadores en plataformas de trabajo horizontal. Desde mis comienzos estuve interesada en el trabajo colaborativo, el cual puede tomar distintos formatos: grupos de lectura, publicaciones, exhibiciones, entre otras plataformas. Considero el arte como una herramienta trasversal desde la cual entablar un diálogo con una panoplia de universos y conocimientos interesantes.   
Estoy interesada en aquellas ideas, personas, objetos y cosas que pueden transformar mi forma de ver y pensar el mundo.

RZ, 2018




















William Carlos Williams
This is the trap — either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so defined before it can be conceived — this precedes all further progress.



The Embodiment of Knowledge


LA BUENA VIDA - parte II




Renata Zas (Buenos Aires, 1990). Renata is an Art Researcher and curator based between Buenos Aires and other places.

She holds an MA in Contemporary Art Theory from Goldsmiths University of London. She has worked in Buenos Aires as an assistant curator; coordinator, producer and programmer of artistic workshops for Centro Cultural Kirchner, and assistant of contemporary art galleries, art editorials and art residencies. She has also assisted artists and curators in different projects. She was also fellow of Programa de Artistas (Artists Programme) of Torcuato Di Tella´s University Art Department (2015) and of Saas Fee Summer School´s, with the theme of Art and the Poetics of Praxis in Cognitive Capitalism, Berlin, Germany (2018). She has recently received the scholarship BECAR Fondo Nacional de las Artes, Argentina, to travel to Italy for a month on a field research trip (Oct-Nov 2018). Renata is interested in horizontal practice as a work methodology and is currently researching the last and ever expanding technological revolution, whose effects are sensed both in human sensitivity and empathy.







Renata Zas (Buenos Aires, 1990). Renata es una investigadora en artes y curadora con base en Buenos Aires y otros lugares. Tiene un Máster en teoría de arte contemporáneo de Goldsmiths, Universidad de Londres. Ha trabajado como asistente curatorial, coordinadora, productora y programadora de workshops de arte para el Centro Cultural Kirchner y asistente de galerías, editoriales y residencias de arte contemporáneo.  También ha asistido a artistas y curadores en distintos proyectos. Fue becaria del Programa de Artistas del Departamento de Arte de la Universidad Di Tella (2015) y del Saas-Fee Summer Institute of Art: Art and the Poetics of Praxis in Cognitive Capitalism en Berlín (2018). Recientemente ha sido becada por el Fondo Nacional de las Artes de Argentina - BECAR para viajar a Torino, Italia, como parte de su investigación (2018). Renata está interesada en la práctica horizontal como metodología de trabajo. Actualmente se encuentra investigando la permanentemente expansiva revolución tecnológica, cuyos efectos son sentidos en la sensitividad y empatía humana.







Lightening the existential vacuum
on-going research part I



“Our time has grown short, narrow, contracted, so the stimulus hardly translates into desire, and desire hardly translates into conscious contact, and contact hardly translates into pleasure".  Franco ‘Bifo’ Berardi, Futurability.

From a curatorial perspective I am interested in experimenting with exhibition formats that engage different audiences whose sensitivity and attention are being shaped by the overflowing effect of information in contemporary culture. Today´s paradigm brings a sensation of time acceleration intensified by the permanent co-habitation in Cyberspace, transforming the way citizens process information, as well as the time for observing and thinking through cultural practices.  During 2016-2017 I’ve been developing an academic individual research which raises questions around this subject matter. This thinking process was conceptualised through the embodiment of artworks by Argentinean artists Nicolás Gullotta, Mercedes Azpilicueta and Florencia Vecino.

Within the context of digital anthropology and the emergency of a new subjectivity, I was interested in the strength that Azpilicueta and Vecino’s performances had, as tools to mobilise the mind and the body of contemporary automatized individuals. At the same time, I thought of Gullotta´s and Azpilicueta’s videos as subtle mental strategies directed to the viewer with the same purpose. These are practices that stand as alternatives of reflection upon what is referred as the conditions of hypercomplexity (Franco ‘Bifo’ Berardi), including time perception, the biorhythm, algorithm and the imperatives of self-design, among other themes. In this context of visual and semiotic oversaturation, the mind and the body are disentangled, making an impact at an individual and a social level. As a wakeup call, Azpilicueta, Gullotta and Vecino’s works make use of the potency of the body as disrupting gestures against all kinds of mechanization.

Text:  Renata Zas
Image: courtesy Mercedes Azpilicueta, Nicolás Gullota and Florencia Vecino.


Only available in English ATM





Master’s Dissertation. Contemporary Art Theory.

Goldsmiths University of London, Department of Visual Culture.Tutor Irit Rogoff. September 2017


Departing from a body of artworks by Contemporary Argentinean artists, I raised questions related to the contemporary human condition embedded in digital life: psychopathologies, the cancellation of dead time, the characteristics of the new subjectivity, the de-activation of the potency of the body.


BIO Nicolás Gullotta (b. 1983 in Buenos Aires. Based in Buenos Aires). He has a BA in Fine Arts from the National University of the Arts, Buenos Aires. In 2009 he participated in LIPAC (Laboratory for Research in Contemporary Practices), dependent on the University of Buenos Aires. He also participated in a workshop by Carlos Amorales at Di Tella University (Buenos Aires 2010). He participates in Residences: Stichting Kaus Australis (Rotterdam, 2013); Skowhegan School of Painting and Sculpture (Maine, 2014); and Gasworks (London, 2015). He received a special mention by the Faena Art Prize in Buenos Aires (2015). In 2016 he participates in the group exhibition “El ejercicio de las cosas” (The exercise of things) curated by Sonia Becce and Mariano Mater at Centro Conde Duque, Madrid.

BIO Mercedes Azpilicueta (b. 1981 in La Plata, Buenos Aires. Based in Milano and Rotterdam). Mercedes Azpilicueta is an artist and performer. In 2017 she received the Pernod Ricard Fellowship from Villa Vassilieff/Bétonsalon, Paris. During 2015 and 2016 she did the Rijksakademie van Beeldende Kunsten, Amsterdam. She has a MFA from the Dutch Art Institute/ArtEZ, Arnhem and a BFA from the National University of Arts, Buenos Aires. She has shown her work at TENT and A Tale of a Tub, Rotterdam; Van Abbemuseum and Onomatopee, Eindhoven; Het Veem, Amsterdam; Centro de Arte 2 de Mayo, Madrid; Irish Museum of Modern Art, Dublin; The Poetry Readings Program, Documenta13, Kassel; Galata Fotoğrafhanesi, Istanbul; Raw Material Company, Dakar; Chinese European Art Center, Xiamen; Centro Cultural Borges and Móvil, Buenos Aires. Her current projects include ‘ENGAGE, Public school for Social Engagement in Artistic Research’ curated by Viafarini in collaboration with Sunugal, Milan; ‘The take over’ i.c.w. Jacco van Uden and Céline Berger, The Hague/Amsterdam; and a new solo performance for REDCAT/CalArts, Los Angeles. In 2018 she will present her first solo institutional exhibition at the Buenos Aires Museum of Modern Art.

BIO Florencia Vecino (b. 1985 in Tandil, Buenos Aires. Based in Buenos Aires). Graduated from San Martin Theatre´s Contemporary Ballet Workshop. She was fellow of the Centre of Artistic Investigations, Buenos Aires (2014) and of the Artist´s Programme of Di Tella University in Buenos Aires (2015). She interpreted works by re-known Argentinean composers such as Luis Garay, Diana Szeinblum, Emilio García Wehbi, Luis Biasotto, Laura Kalauz and Alan Pauls. In 2015 she was invited to participate in the Contemporary Festival Archaelogies of the Future, an International Festival of Contemporary Ballet, Performance and Knowledge.

only available in English ATM

From the understanding of this big and complex panorama I embedded myself in media theory, sociology and philosophy, to contextualise how algorithmic culture affect the global subject. Moreover, I have also tried to think of the differences in which the global and the local intersect along this paradigm, setting some hypotheses which I would like to develop further in my next research. Overall, my analysis on the artists’ works highlighted the potency of the body in the Internet Era, and speculated around local differences between Latin American, Central Europe and the U.S.

for more info about
Nicolás Gullotta_visit http://www.nicolasgullotta.com/
Mercedes Azpilicueta_visit http://www.mercedesazpilicueta.info/
Florencia Vecino_visit: http://ciacentro.org.ar/node/1751

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latest release:


Biodélica

Nota sobre la exhibición “Biodélica” de Florencia Rodriguez Giles en la galería Ruth Benzacar, Buenos Aires, Argentina, Octubre 2018, Revista Otra Parte:
Español_ versión 1_https://www.revistaotraparte.com/arte/biodelica/

 



Toda referencia que indica que esto es un simulacro arruina la experiencia

Nota sobre la exhibición “Ficción primitiva” de Mariana Telleria en la galería Ruth Benzacar, Buenos Aires, Argentina, Junio 2018, Revista Otra Parte y Lobo Suelto, Anarquía Coronada Dos versiones son leves modificaciones cada una adaptadas a los criterios editoriales de cada publicación:
Español_ versión 1_http://revistaotraparte.com/semanal/arte/ficcion-primitiva/
Español_versión 2_http://lobosuelto.com/?p=20085

English translation soon


   
sticknote
This short essay I wrote about Mariana Telleria' s exhibition at Ruth Benzacar gallery, titled "Primitive Fiction" has two different versions, fitting the editorial´s structures. Although there is no English translation of the text yet, I'm translating some key aspects down here:

The title of the piece reads: "Every reference that indicate this is a simulacrum ruins the experience". There is a lot of thinking and some theory embedded but I don't quote anyone else than God. Deus ex natura.

Mariana Telleria' s bio:
"I was born in Rufino, Santa Fe province in 1979. In 1998 I've moved to Rosario to study Fine Arts at Rosario's National University. I've never finished my studies and neither assisted to art crits nor workshops or seminars. However, I do spend time and share ideas with exceptional friends. I am not always moved nor surprised by the unexpected neither all information coming from external sources. Most of the time, I found surprise in my own searches and their register or memory . Every idea I have has not originated as an isolated fact but as forms or compositions articulating and ordering those things that are there and interpellate me, even if I don't recognize them immediately. It is in this process of recognition, when I'm confidently lost until I found one path I feel I need to follow, when the inner work of history and the process of extremelly personal and biological journey are chained to the circumscribing operation of the context. Many times this follows from revising once and again my own work. Then, I follow my own hand.
Everything I do is true. I am not true when I speak. What I say can never reaches what happens, therefore I don't want to name it. Speaking means more cheating than making. And fortunately, I believe I haven't done enough yet". Mariana Telleria, 2018






TODO LO PROFUNDO AMA EL DISFRAZ









pensamiento colectivo en exhibiciones de arte contemporáneo
Collective Thinking in Contemporary Art Exhibitions. Currently taking place in Buenos Aires.

Inspirations:
the educational turn
instituting otherwise

Todo lo profundo ama el disfraz es un grupo de visitas a exhibiciones de arte contemporáneo en la ciudad de Buenos Aires para adultos y jóvenes adultos. El mismo tiene una frecuencia de dos veces por mes, y una duración de 2hs aproximadamente cada encuentro.

El siguiente taller, seminario o grupo de reflexión se propone como una alternativa a la tradicional visita guiada. Su objetivo es combatir el miedo a acercarse al arte contemporáneo mientras que propone activar reflexiones en torno a ideas artísticas e ideas que exceden a la obra en sí, convergiendo o divergiendo hacia otros campos. De esta manera, se buscará activar conocimientos dormidos en nuestro inconsciente y transformar la experiencia de visitar una exhibición en un ejercicio de atención, disfrute y molestia, como así también ocurre en la experiencia de lectura. Explotando la dinámica de grupo, intentaremos sumar las fuerzas de todos los participantes para enriquecer el pensamiento colectivo.
Se visitarán museos e instituciones como el Museo de Arte Latinoamericano de Buenos Aires, el Museo de Arte Moderno de Buenos Aires, el Museo Nacional de Bellas Artes, la Fundación Fortabat, la Fundación PROA, como así galerías privadas y espacios alternativos de la ciudad.

Para consultas sobre el grupo en español: renatazas.zas@gmail.com


English
Todo lo profundo ama el disfraz (Everything profound loves a disguise) is a group of people that visits contemporary art exhibitions currently in Buenos Aires. It takes place once a week or twice a month and each meeting has a duration of two hours. The seminar stands as a group to "reflect together" while building a plot collaboratively. It works as an alternative to the traditional guided visit given by cultural institutions. The group tries to encourage approaching art from a playful way, overcoming prejudices and fears of the contemporary art world. Its objective is to use artworks as points of departure for a broader analysis of the paradigm they are inserted in and the possible relations and connections they can have to other fields and topics. Therefore, we will try to activate unconscious knowledge that we tend to forget, for the experience of thinking and feeling together. Heterogeneous backgrounds are thought to enrich the experience. We will visit a number of renowned art institutions and museums, as well as private galleries and independent spaces in Buenos Aires.

Everything that is deep loves the mask is a quote from Nietzsche´s thinking.
Also interpreted by Gustavo Cerati, Argentinean musician, and poet:
https://www.youtube.com/watch?v=YTSwd0xCdV4)


Everything deep loves the mask is also available for English speakers. Inquiries at renatazas.zas@gmail.com


projects

horizontal work 



new project:

C R U Z A




Cruza por cruce de perros. Como la unión de un Dogo del Tibet con perros locales dando como resultado el Bulldog; el cruce de mastín inglés, perro de San Huberto y un bulldog, dando un Fila brasileiro; el cruce de fox terriers de pelo liso, dachshund, beagles y en algunos casos bull terriers que dieron como resultado al Fox terrier.

Cruza es un proyecto de pensamiento crítico en el espacio.

Cada cruza es una intuición que reúne a dos o más artistas y pensadores.

El motivo de su reunión es llevar el pensamiento y las ideas sobre sus prácticas o el Universo un paso más allá. 

La metodología es colaborativa y colectiva.

Comemos, bebemos y nos sentamos o movemos en el espacio de una casa taller.

Cada cruza devendrá en un texto crítico sobre lo ocurrido en el taller.
Trabajo curatorial, producción, coordinación: Renata Zas


C R U Z A S*

1_ Florencia Caiazza (artista visual) - Nicolás Mastracchio (artista visual)

2_ Maruki Nowacki (artista visual) - Nicolás Domínguez Bedini (poeta y performer)

3_ Viviana Iasparra (bailarina y coreógrafa) - Iumi Kataoka (artista visual)

4_ Daiana Domínguez (Terapeuta. Flores de Bach, registros chamánicos, vidas pasadas y lógica global convergente) - Nicolás Gullotta (artista visual)

* Hay 4 CRUZAS proyectadas para el 2018 - 2019.

Presentación C R U Z A: 
https://files.cargocollective.com/c67934/C-R-U-Z-A_short_presentacion_2018_xx_web_2.pdf



english version>

Cruza is the Spanish word to refer to cross of dogs. Like the Tibet Dogo with local dogs, which turns out in a Bulldog; the cross of a San Huberto dog, with an English Mastiff and a Bulldog, resulting in a Brazilian Fila; a long-hair fox terrier, with a dachshund, beagles and even bull terrier, giving the Fox terrier.

Cruza is a critical thinking project developed inside a space.

Each “Cruza” (an encounter of three thinkers) represents an intuition to reunite certain artists and thinkers.

The purpose of its reunion is to bring the ideas and the thinking process around our practices and interrelated fields of knowledge, a step further.

Our methodology is collective and collaborative.

We eat, drink, sit and move inside the space of an art studio and house.

Each CRUZA will eventually become a critical text of what happens inside the studio.


For more info on CRUZA contact Renata at: renatazas.zas@gmail.com


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Intersectionality  Interseccionalidad



Interseccionalidad - Intersectionality es un proyecto colectivo que parte de la pregunta sobre el significado actual de las palabras “Democracia” y “Desarrollo”. Estas comprenden ideas alrededor de lo que se denomina ´Políticas de cuidado´ y el espacio doméstico como un espacio de organización de resilencia (Bell Hooks), la teorización cinematográfica y el encuentro con el otro como espacio de fuerza y poder; el concepto de deseo post-capitalista (Mark Fisher); la idea de ficción sin contenido como aquel espacio en el que la audiencia no cree lo que dice la obra (Kodwo Eshun sobre John Afrokomah), la lectura neo-spinozista de Rosi Braidotti y la visión decolonialista de Silvia Rivera Cusicansqui.

El embrión de este proyecto se gestó cuando el grupo realizaba sus estudios en tres programas de posgrado en Goldsmiths, Universidad de Londres: MA Contemporary Art Theory, MRes Curatorial Knowledge, MA Research Architecture. La idea de realizar su primer ensayo en Buenos Aires fue impulsada por Renata Zas. El equipo conceptual detrás del programa está conformado por Meenakshie Thirukode, Angélica Muñoz, Bianca Stoppani, Fadi Mansour y Renata. El mismo podrá incluir otras voces que propongan un entendimiento más abarcativo sobre política contemporánea, que excede su lectura partidista. Este será atravesado por fuerzas locales y globales, trabajando juntos en prácticas colaborativas, horizontalidad y políticas de amor y afecto, entre otros. Así buscará plantearse como una prueba para transformar y mutar las metodologías de competencia que dominan el la estructura del diseño global. La lista de lecturas no se encuentra cerrada e incluirá voces locales y globales de los países en los cuales los participantes viven y trabajan.

English version
Is a collective thinking group by Fadi Mansour, Meenakshie Thirukode, Bianca Stoppani, Angélica Muñoz and Renata Zas

This project departs from the questions what do the words "Democracy" and "Development" mean today?
It comprehends ideas around Politics of care (Bell Hooks) and the domestic space as a political space to organise resilience, Arthur Jaffa´s theorization of cinematography; the coming together of the other as a place of power and strength; Mark Fisher´s concept of Post-capitalist desire; John Afrokomah´s concept of fiction without content; the neo-Spinozean reading of Rosi Braidotti and Rivera Cusicansqui.

Its aim is to propose a broad understanding of contemporary politics away from a party-wise conception. It is transversally penetrated by local and global forces, practices of collaboration and horizontality, and politics of love and affection, among others. It is a test to transform and mutate contemporary methodologies of competition which rule the structure of Global design. The reading list isn´t closed and will include local and global voices from the countries in which each of the participants belong and live.


Meenakshi Thirukode (Quilon, Kerala, 1981). Currently based in New Delhi, India. Meenakshie is a writer, researcher and a 2016-17 FICA Inlaks Goldsmiths scholar at the M.Res program in Curatorial/Knowledge, Goldsmiths, University of London. Her areas of focus and research is on the role of culture and collectivity in the sub-continent within the realm of a trans-nomadic, transcient network of individuals and institutions. Her research, writings and curatorial work is invested in the role of re-imagining cultural and political spaces in the region through alternate methods of pedagogy, lost, erased and invisible art histories as well as intersectionality.


Bianca Stoppani (Bergamo, 1989). Bianca is an Italian Art Researcher based between London and Milan. She is also the co-founder of Armada, an artist-run space in Milan, and of the online journal Momentum. She holds an MA in Contemporary Art Theory from Goldsmiths University, London, and a BA in Visual Cultures from the Accademia di Belle Arti di Brera, Milan. Currently, she serves as Editor at Carnet de miart, the official online magazine of miart fair, Milan. Her writings have appeared in magazines such as Carnet de miart, Kaleidoscope, L’Officiel Art Italia, Mousse and SIAE/Vivaverdi.

Angélica Muñoz (Santiago de Chile, 1984). MA in Contemporary Art Theory en Goldsmiths University of London. BA in Art Theory and History, Chile University. She has been professor at the Art Department of Diego Portales University Art. She also works as an independent curator and art researcher. Currently based in Santiago de Chile.

Fadi Mansour (Beirut, 1983) is an architect, artist and researcher based between London and Beirut. He graduated from the Centre for Research Architecture at Goldsmiths in 2017 and the Architectural Association in 2009. He practiced and taught architecture and urban design, worked on installations and film. His research work lies at the intersection of techno-capitalism, colonial violence and ecology.

Renata Zas (Buenos Aires, 1990. Currently based in Buenos Aires). Renata is a contemporary art researcher and curator based between London and Buenos Aires. She holds an MA in Contemporary Art Theory from Goldsmiths University of London and a BA in Curating and Art Management from ESEADE University – Philadelphia Institute. She has also been a fellow of the Artists Programme at the Art Department of Di Tella University. Renata worked in Buenos Aires as an assistant curator; coordinator, producer and programmer of artistic workshops for Centro Cultural Kirchner, and assistant of contemporary art galleries, art editorials and art residencies. She assisted Argentinean artists and curators in different projects. 




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ZasDub_DubZas

angiedub & renatazas


Angela Dub is a project architect and Environmental Design specialist. She coordinates the MA in Sustainable Architecture and Planning at University of Buenos Aires (UBA) and is the Strategic Planning Coordinator of ACUMAR, an Environmental Consultant for urban-scale projects regarding the sanitation and redevelopment of a historically degraded and polluted region of the Metropolitan Area of Buenos Aires. Development of environmental strategies.
https://www.linkedin.com/in/angiedub/

Renata and Angie work as a collaborative think tank since 2016.







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Research project:

Nicolás Gullotta - Renata Zas


Nicolás Gullotta, And stones move themselves, Installation, 2014. ph courtesy Nicolás Gullotta. 


Viviendo en un estado de incertidumbre o habitando el estado de trama 


trabajo en proceso _ investigación en proceso

es un intento para establecer un ensayo de forma dialógica, que se abre a la contingencia del encuentro. Es un tipo de escritura que moviliza el pensamiento a una nueva forma. Una forma más cercana a la incertidumbre que la certeza. Abrazando este paradigma, dos personajes ficcionales emergen en lo que se convertirá en un texto filosófico, que trabajo de un modo similar a un piloto o trama. La siguiente colaboración comenzó a fines del 2016 y principios del, 2017, a partir de un ensayo anterior de Renata, disparado desde el ejercicio de lectura desacelerada de Cyclonopedia de Reza Negarastani.

Sobre el dúo Gullotta-Zas
El dúo de curador y artista trabaja en colaboración desde fines de 2016 y principios de 2017. Escribieron juntos el ensayo Viviendo en un estado de incertidumbre o habitando el estado de trama dentro del marco del seminario de Geopoéticas (Geopoetics) dirigido por el artista y teórico Kodwo Eshun (1967, Londres, Reino Unido). En la actualidad continúan colaborando en el ensayo de pensamiento colectivo dentro de las coordenadas de sistemas, naturaleza, algoritmos, ciencias computacionales, existencialismo, ley global convergente, entre otros temas.


Living in a state of uncertainty or inhabiting a state of plot.
We just learn to believe what it presents ourselves to be real


This project is an attempt to set up an essay in the form of a dialogue, opening its contingency into the encounter. It is a kind of writing that mobilizes thinking in a new way. A way closer to uncertainty rather than certainty. Embracing this paradigm, two starring fictional characters will merge to become one philosophical text, working in a pilot or plot-mode.
Within this practice, the artist and the curator started this collaboration between the end of 2016 and the beginning of 2017. The first step of this collaborative practice was materialised in a dialogic essay. This exchange kept evolving and transformed into a work in progress


About Zas & Gullotta´s duo
The artist and the curator have worked together building this plot since the end of 2016 and the beginning of 2017. The first step was materialised in a dialogic essay for a seminar titled Geopoetics conducted by professor Kodwo Eshun in London. Notwithstanding, the exchange kept evolving and transforming into a work in progress that could take more than one form.

For more information about Nicolás Gullotta visit: http://www.nicolasgullotta.com/--



Extract from a text written on behalf of Nicolás Gullotta´s latest exhibition held in Buenos Aires. This show took place at a temporary place runned by Renato Mauricio Fumero and Alejo Ponce de León (art writers and critics), inside a carpentry workshop:

Chronicle oct-30-2017
Inhabited space. Titularidad no informada (Un-informed titularity)
Monday, October 30th 2017, Buenos Aires, Argentina




ph. Gustavo Lowry. Courtesy Nicolás Gullotta


Iván, Nicolás, Mariano, Renato and Renata.

‘Ambiguity’, says Nico, it was the first word that downloaded to my brain.

The smell that floods into the space belongs to a molecule specially developed for the show, in order to obtain a specific result: a plastic odour. This chemical spray the most organic object of the show: 9 pineapples.

How was the process of selecting these pineapples? The decision was taken considering anatomy and not colour. I make this clear because when I entered the room and bent on my knees to the floor [...]



The exhibition took place at Titularidad no informada.
This project run by Renato Mauricio Fumero y Alejo Ponce de León defines itself as a “mutual association of curatorial action”. During 2017 they produced four exhibitions inside espacio Calyfornio. Calyfornio is a design furnishing workshop located inside a local market in Palermo neighbourhood (Uriarte 1171, Buenos Aires, Argentina).
More pictures available at: https://www.facebook.com/EspacioCalyfornio/?ref=br_rs



1. article published in November on Laura Ojeda Bar´s exhibition Pupo delator, in Buenos Aires 
http://lobosuelto.com/?p=12907







post published in November 3rd, 2017 on FB https://www.facebook.com/renatita.zas

SPANISH version:

Volví al país con muchas ganas de trabajar. Entre otras cosas, escribir. Aquí una nota sobre la exhibición "Pupo delator..." de Laura Ojeda Bär en Laboratorio, la galería ubicada en el primer piso del bar Festival. Me emociona después de haber recorrido un trayecto juntas, estar publicando hoy esta nota.

Agradezco a Federico Baeza, Carlos Huffmann, Laura Ojeda Bär, Angie Dub, Alejo Ponce de León, Iumi Kataoka, Joaquin Aras, Marcela Sinclair, Matias Ercole, Guillermo Carrasco, César Abelenda, Lihuel Gonzalez, Gimena Macri, Renato Mauricio Fumero y Diego Sztulwark que de una manera u otra colaboraron para que esta nota se publicara.

"El arte como una herramienta de pensamiento" dicen mis aplicaciones desde el 2010. En 2017 le sumo "el pensamiento es colectivo". Espero haber vuelto con "las sensibilidades sobre la tierra" como dice mi amigo y colega Ponchi de Lion.

Esta nota la dedico a Buenos Momentos.