As part of Ciudades Paralelas –a project of public spaces interventions that will be developed in several venues in Berlin, Buenos Aires, Varsovia and Zurich- Fundación Proa presents a film, two concerts and a debate on the subject of the city. This series of events place Proa at the center of festival related activities.

The documentary Hacerme feriante (Becoming a Stallholder, 2010, 92’), Julián d’Angiolillo’ s first film on the Salada fair and alternative city economy, will screen on Sunday November 28. That same day, Ulises Conti presents his new record “Posters privados” (“Private posters”) at a piano concert and stories on different views of the city.

On Sunday December 5, the eight artists that participate in Ciudades Paralelas will present the conclusions of the festival in a debate moderated by Alan Pauls. Closure will be in charge of Pablo Dacal who will perform live at Proa’ s terrace.

Program
Sunday November 28
6PM FILM | Hacerme feriante (Becoming a Stallholder, 2010, 92’), by Julián d’Angiolillo +info
8PM MUSIC | Concert by Ulises Conti + info

Sunday December 5
6PM DEBATE | Ciudades paralelas. Diarios de trabajo (Ciudades Paralelas. Work journals). With Lola Arias, Christian García, Ant Hampton, Dominic Huber, Stefan Kaegi, Ligna, Gerardo Naumann, Mariano Pensotti. Moderador: Alan Pauls + info
8PM MUSIC | Concert by Pablo Dacal at the terrace + info

Ciudades Paralelas is a project of intervention on public spaces, curated by Lola Arias and Stefan Kaegi. They summoned international artists to create an observatory of urban situations in eight different spots around the city. Hotel rooms, libraries, shopping malls, train stations and factories are the locations chosen by the artists to produce their work. This festival previewed in Berlin in September earlier this year, and will be relocated to Varsovia and Zurich in 2011. In words of its curators, “Ciudades Paralelas is itinerant laboratory for experimentation that subverts the ways of seeing and using the city”.

+ on Ciudades Paralelas: www.ciudadesparalelas.com

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FILM | Sunday November 28 6PM
Hacerme feriante
(Becoming a Stallholder) Argentina, 2010, 92’. Dir. Julián d’Angiolillo

"Hacerme feriante". Argentina, 2010, 92’. Dir. Julián d’Angiolillo

Julián d’Angiolillo’ s first film gives the tour of the largest fair in Argentina, where everything is available at prices considerably lower than in the “real” world. The documentary exposes the growth of informal economy, legal limits and the use of public spaces. “Hacerme feriante” (Becoming a Stallholder) was included in BAFICI’ s Argentinean Competence in 2010.

Sinopsis
La Salada are a series of fairs specialized in textile in Buenos Aires’ city, on the ruins of the popular private beaches. Twice a week, in the early morning, the fair activates the economy through an immeasurable amount of domestic scale workshops that provide products for wholesalers coming from all over the country. The stallholders ingeniously built a multitudinous system for everyone who cannot find in the city, what the Salada fair has to offer, establishing its own rules and making the government come to them – instead of the other way around-. Given town council’ s judicial pressure to clean contamination in the Riachuelo (where the most precarious fair is located), an unsuspected negotiation between the State and the stallholders begins suddenly in order to transform the territory once more.

On Julián d’Angiolillo
He has a Bachelor in Visual Arts from IUNA and in Drama from EAD. He published “Cabinas” (National prize and Rozenmacher special mention on drama) and the essay “La desplazada. Biogeografía del Parque Rivadavia”.  He made the videos “Condominio”, “El Arco del Triunfo Entrópico”, “Colección Overlock” y “Suite Matanzas”. He designed the visual composition of “Suerte Satélite” at the city’s Planetarium and the video installation “Dirección de paseos”, in the exhibition devoted to Carlos Thays. He received a video residency from the Cité des Arts of París and the Elena Poggi award from the Asociación Argentina de Críticos de Arte. He took part in the project “Post It City – Ciudades Ocasionales”.

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MUSIC | Sunday November 28, 8PM
La ciudad portátil (Portable city). Concert by Ulises Conti

Ulises Conti presents his new album “Posters privados” (Private posters), a series of eight piano pieces where the experimentation is not in the content, as in his previous work, but in the way of simply addressing classical language. He works under the premise of doing music with the fewer amount of elements possible, seeking to escape the stereotypical characteristics of a clean performance and avoid academic gestures. The end result seems to be the image of a performer playing in an empty room, where we can come in and spy on him, opening a side door, unnoticed.

On Ulises Conti
He is a composer and sound artist. From Metamúsica, his productive platform, he develops diverse projects trying to provide and solve stages generally related to music in an interdisciplinary context: soundtracks, theatre plays, dance performances, sound installations; with an international scope, atypical for Argentinean composers of his generation. He presented diverse projects in Buenos Aires and diverse prestigious stages around the world. His music is edited in different national and international catalogues. + info: www.ulisesconti.com.ar / www.myspace.com/ulisesconti

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DEBATE | Sunday December 5, 6PM
Ciudades paralelas. Diarios de trabajo
(Work Journals) With Lola Arias, Christian García, Ant Hampton, Dominic Huber, Stefan Kaegi, Ligna, Gerardo Naumann y Mariano Pensotti.
Moderator: Alan Pauls

The eight artist who participate in the festival present their work journals and discuss different strategies of urban intervention, under the moderation of writer Alan Pauls.

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MUSIC | Sunday December 5, 8PM
Canciones sobre la ciudad (Songs about the city). Concert by Pablo Dacal at the terrace.

The festival’ s closure will be in charge of Pablo Dacal. The musician will perform at Proa’ s terrace. He will present a song repertory on the multiple of views of the city.

On Pablo Dacal
He is a singer songwriter, a referent for other contemporary local musicians. He shared the stage with great artist of his generation such as Fito Páez, Daniel Melingo and Fernando Cabrera, among others. Front man for the Orquesta de Salón, he edited “13 greatest hits” (2005) and “La Era del Sonido” (2008); and, with the Voladores trio, the albums “Disco de Bolsillo” (2006) and “Cartón Pintado” (2009). En 2009, he also edited “Viajantes”, the debut record of his band, with Manuel Onós, Juan Jacinto and Alfonso Barbieri. He played several concerts in Buenos Aires and other cities in Argentina, Uruguay, Colombia, Spain, France and Germany. He is currently finishing his new record “El Progreso”, produced by Ezequiel Cutaia and to be edited in the next year. + info: www.musicadesalon.com.ar / www.myspace.com/salonerias

Wednesday November 24
7PM Gustavo Fernández Walker will interview composer Alvin Lucier
8.30PM Alter Ego Ensemble Concert

Admission: $10
Information: auditorio@proa.org / (011) 4104-1001

Avant-garde composer Alvin Lucier, one of the most distinguished figures in experimental music, will dialogue with Gustavo Fernández Walker on Wednesday November 24 at Proa’ s Auditorium. Later on, the Alter Ego Ensemble will play a selected contemporary music program.

Both events are part of the XIV Program of Contemporary Music Concerts, organized by the Complejo Teatral de Buenos Aires and under the direction of Martin Bauer. The event has the support of Fundación Proa.

Alvin Lucier (1931, EEUU) is a pioneer and key figure in experimental music. His more recent works include sound installations and compositions for solo instruments, camera ensembles and orchestras. In this one-off event, Lucier will discuss different aspects of what is contemporary with Gustavo Fernández Walker.

Musicians Oscar Pizzo (piano), Francesco Dillon (cello) and Manuel Zurria (flute), members of the Alter Ego Italian Ensemble, will be accompanied by percussionist Antonio Caggiano. The program will include the piece “Silver Streetcar for the Orchestra”, composed by Lucier as a triangle solo. The composer said about the work: “I took the title from the Surrealist manifest from 1922 by Spanish film director Luis Buñuel. He gave several descriptions and tittles to all the instruments on the orchestra and named the orchestra’s triangle Silver Streetcar (…). The musician simply hits the triangle during the whole length of the piece (…). That is to say that you hear the triangle in all its marvelous manifestations, extraordinary sounds that you never knew were there”.

Alter Ego will present a selection of pieces little known to the Argentinean audience. Its members are considered internationally amongst the most important instrumental players in the European Contemporary Music panorama. They are known for their collaborations with visual and scenic artists and with pop and rock musicians. They have collaborated with figures such as Irvine Arditti, Salvatore Sciarrino, Philip Glass, Kaija Sariajo, Frederick Rzewski, David Lang and Alvin Curran. They have played at Proa on several occasions since 2004.

Program:
I. 3 bagatelle (2008) by Francesco Filidei
Manuel Zurria (flute) / Francesco Dillon (cello) / Oscar Pizzo (piano)
II. Rekindle (2010) by Michel van der Aa
Manuel Zurria (flute) and tape
III. Voicelessness (the snow has no voice) (1986) by Beat Furrer
Oscar Pizzo (piano)
IV. Quatre récitations (2010) by Georges Aperghis
Francesco Dillon (cello)
V. Puja (2004) by Mazulis
Manuel Zurria (flute) and tape
VI. Incarnation II (1978) by Somei Satoh
Oscar Pizzo (piano) and electronic
VII. Curve with plateaux (1982) by Jonathan Harvey
Francesco Dillon (cello)
VIII. Corroto (1982) by Jacob TV
Manuel Zurria (flute) / Francesco Dillon (cello) / Oscar Pizzo (piano)
IX. Silver Streetcar for the Orchestra (1998) by Alvin Lucier

Contemporary Music Concerts’ complete program at: www.teatrosanmartin.com.ar

With the support of Tenaris – Techint

Video: Piano and Cello contemporary music concert organized by Fundacion Proa, Buenos Aires. It was held at the Swedish Church (Iglesia Sueca de Buenos Aires). November 15th 2007. This is a Morton Feldman fragment.

Premiere: Saturday September 18, 7PM
Screenings:
Saturday September, 18, 25 – 7PM
Saturday October 2, 9, 16, 23, 30 – 7PM
Saturday November 6 – 7PM – Last screening

Proa’s Auditórium
For more information: auditorio@proa.org / 4104-1000/1001

About the film

Proa Cinema presents SANTIAGO (Brazil, 2006, 80’), João Moreira Salles’ most acclaimed production. The film will screen each Saturday until November 6, at 7PM.
Since it was launched, SANTIAGO has received many awards from different film festivals, obtaining a great international acclaim. In Argentina, it was screened at the 2007 edition of BAFICI film festival and was considered as one of the most distinguished documentaries.
João Moreira Salles is one of the most acknowledged documentary filmmakers of Brazilian contemporary film. He began writing scripts for television in 1985. Since then, he has directed ten documentaries, many of them awarded internationally. “Entreatos” (2004), “Nelson Freire” (2002), “Notícias de uma Guerra particular” (1999, co-directed by Kátia Lund) and “Jorge Amado”(1995).

Overview
SANTIAGO, Brazil, 2006. 80 minutes
Direction: João Moreira Salles
Executive producer: Mauricio Andrade Ramos
Photography director: Walter Carvalho, A. B. C.
Producer in chief: Beto Bruno
Sound producer: Jorge Saldanha
Editors: Eduardo Escorel and Livia Serpa

About the filmmaker

João Moreira Salles is a documentary filmmaker. Since 2006, he is editor for Piauí magazine. He began his carreer in 1985 as script writer for the five episodes sitcom  “Japão, uma Viagem no Tempo”.
In 1987, he wrote the script for “Krajcberg o Poeta dos Vestigios”, film for which he received the awards for best investigative documentary at the Festival dei Popoli (Florence, Italy); best documentary film at the New Latin American International Film Festival, in La Habana (Cuba) and the Golden toucan for the best TV show from Río de Janeiro at Rio’s V Festival (Brazil).

In 1987, he directs “China, o Império do Centro”, special prize from the Paulist Association of Art Critics and the Award for best TV reportage from the brazilian association for literary critic.

In 1989, he shot the documentary “Poesia é uma ou duas linhas e por tras uma imensa paisagem” on the poet Ana Cristina César, winning the Grand Prize at the Fotoptica Festival. That same year he also directed América, a series of five documentary episodes on North American culture, shot at the US and broadcasted by TV Manchete. It was considered by the critics as one of the best productions for Brazilian television.
In 1990, he produced “Blues” a special episode on North American black music, which was awarded the special jury prize at the International Art Film Festival from the Centre Georges Pompidou in Paris.
From 1991 until 1996, he devoted to advertisement and won several awards. In 1995 he directed alongside Jorge Amado a one-hour documentary film on the racial issues in Brazil, based on the writer’s work. Co-produced with Continental Cameras (France) and broadcasted by France 3 and GNT (Brazil) stations.
In 1998, he premiered the documentary series “Futebol”, co-directed with Arthur Fontes. Filmed in a two years period throughout Brazil, this project is a portrait on Brazilian football, a chronicle of the athletes lives in different moments of their careers: the beginning, the fame and the players anonymity. The three-episodes sitcom was nominated for that year’s Emmy awards under the international documentary section, and was selected in the International Documentary Film Festival from Amsterdam. He also participated in New York’s Film Festival where he was amongst the Latin American runners-up.

In 1999, Moreira Salles co-directed alongside Katia Lund “Notícias de uma guerra particular” a documentary film on street violence in Brazil. Rio de Janeiro is the film scenario. Policemen, drug dealers and favela inhabitants are the characters. They take part in a daily war with no victories. The film won the 2000 award for best documentary film at the É tudo verdade Festival of São Paulo and was runner-up for the Emmy Awards and the New York Film Festival.

In 2000, Videofilmes launched a documentary series “6 Historias Brasileiras”. Moreira Salles co-directed with Marcos Sá Corrêa the episodes “O Vale” (on the ravaging of the Atlantic forest of the Paraíba Valey) and “Santa Cruz” (on the birth of the evangelist church in Rio de Janeiro’s suburbs).

In 2003, Moreira Salles premiered Nelson Freire, a feature film on the Brazilian pianist’s career. Shot during the artist’s 2000 European and Russian tour, the film captures images of his concerts and the intimacy of rehearsals and his home studio. The film contains Nelson Freire’ s delectable musicality, acclaimed worldwide.

In November 2004, his documentary film “Entreatos” showing the most intimate moment of Luiz Inácio Lula da Silva’s 2002 presidential campaign. The film reveals the behind the scenes of an historical moment using exclusive material, private conversations, strategic meetings, phone calls, transfers, discourse recordings and electoral programs. In 2006 he finished Santiago, a documentary feature film on his family’s former butler. The film was awarded best documentary at the Alba Film Festival, in Italy and the Festival du Réel, in Paris in 2007.

Press

Casa con fantasmas / Juan Forn. Página 12. 03.09.2010
João Moreira Salles. Estuche Freak. 03.09.2010
Santiago. Cine Búho. Septiembre 2010
Santiago de João Moreira Salles. Librosgratis. 03.09.2010
Santiago de João Moreira Salles. EsLiteratura.com. 04.09.2010
Santiago! Seminario Gargarella. 09.09.2010
PROA Cine estrena una joya del documental: Santiago Impulso Baires. 18.09.2010
Santiago, de João Moreira Salles Yahoo Noticias 22.09.2010
Santiago de João Moreira Salles El Amante 18.09.2010
Estreno PROA CINE: Santiago, de João Moreira Salles El Reverso
Santiago Guyazi 16.09.2010
PROA CINE : “Santiago”, de João Moreira Salles EraMusical Enterarte Cultural 18.09.2010
Proa Cine presenta: Santiago de Joao Moreira Salles Moda Fusión Arte 18.09.2010
PROA Cine estrena una joya del documental: Santiago Otros Cines 18.09.2010
Santiago Fotografías 18.09.2010
Santiago de João Moreira Salles (2006) Bamarte 18.09.2010
Proa Cine presenta ‘Santiago’, un film documental dirigido por João Moreira Salles Arte en la Red 13.09.2010
La seducción del valet -SANTIAGO documental del cineasta brasileño Joao Moreira Salles Cine al Sur 27.09.2010
Santiago, el magnífico documental de Joao Moreira Salles Taller La Otra 25.09.2010
La seducción del valet Página 12 24.09.2010
Dos grandes documentales Hipercrítico
SANTIAGO, DE JOAO MOREIRA SALLES Terra 22.09.10
Hoy sábado: PROA Cine estrena una joya del documental: Santiago Impulso Baires 18.09.10
Cae la noche tropical Radar 26.09.10
Continua El Documental Brasileño SANTIAGO Revista Llegás 18.10.10
“Santiago” de J. Moreira Salles Weblog Clarín 18.10.2010

November 2, 2010 – 6.30 PM

American journalist Jon Lee Anderson will once again give a workshop in Buenos Aires; this time, from Octobre 30 to November 3, on the topic of writing reportages. The seminar will take place at Fundación Proa.

Jon Lee Anderson is a lecturer at the Iberoamerican New Journalism Foundation (Fundación Nuevo Periodismo Iberoamericano – FNPI). Over the last decade, this institution has developed several workshops on cultural journalism alongside Fundación Proa. Within the frame of this workshop, Anderson will also give a public lecture at Proa.

More information >>

VERONICA DI TORO – MARCOLINA DIPIERRO – LUCIO DORR – MARIANO FERRANTE

Tuesday October 19 – 6 PM
Free admission

The artists of RAM – an exhibition under the coordination of Santiago Bengolea/RedGalería currently on display at Fundación Proa’s Contemporary Art space – will discuss their work, the task of intervening Proa´s building, mural painting as contemporary means of expression and the composition techniques, amongst other topics.

On its second edition, FILBA Festival Internacional de Literatura en Buenos Aires (Buenos Aires International Literature Festival) presents “Uruguay en foco” (“Uruguay on focus”), a panorama on the country’s literary and cultural manifestations. This activity will have the presence of local authors from a new generation, as well as readings of writers Marosa Di Giorgio and Mario Levrero. It will take place on Sunday, September 5 at Proa’ s Auditorium.

The first activity reunites Argentinean poet Marina Mariasch and Uruguayan writer Roberto Echevarren in a discussion around the work of renowned poet Marosa Di Giorgio. In another board, Uruguayan authors Pablo Casacuberta and Felipe Polleri will pay an homage to writer Mario Levrero by proposing a new way of reading and analyzing his texts. Furthermore, three editors from Argentina and Uruguay will debate on the publishing market and literary exchange at the Rio de la Plata. This activity will bring together Ana Inés Larre Borges and Pablo Harare, responsible for Cal y Canto and Trilce (Montevideo) publishing houses and Francisco Garamona, director of Mansalva (Buenos Aires).

Before these activities, a selection of 16 video poems, part of the international exhibition “Videobardo” (VideoMess), curated by Javier Robledo, will be projected at Proa’ s Auditorium.

FILBA 2010’s Program at Proa’ s Auditorium: URUGUAY EN FOCO (Uruguay on focus)
Sunday, September 5

2PM. Interview + reading: Dear Marosa
Participants: Roberto Echevarren, Malena Solda and Marina Mariasch

4PM. Board: Publishing and cultural industries
Participants Pablo Harari, Inés Larre Borges and Francisco Garamona / Modera Damián Ríos

6PM. Board: Invisible Levrero
Participants Pablo Casacuberta and Felipe Polleri / Modera Guillermo Piro

Projections: Video poetry international show
Videobardo (VideoMess) / Curator: Javier Robledo

11AM to 7PM. Las Dos Orillas book and magazine fair at Proa’ s Library

Interview + reading: Dear Marosa
Participants: Roberto Echevarren, Malena Solda and Marina Mariasch
Sunday September, 5 – 2PM.

Marosa Di Giorgio (Salto 1932-Montevideo 2004) is one of the most important voices of Uruguayan poetry of all times. Her work has influenced several generations of poets in her country as well as in Latin America.
Marina Mariasch, a young Argentinean poet, will interview Uruguayan prose and essay writer, Roberto Echavarren, an expert on Marosa’ s work. Afterwards, actrice Malena Solda will read fragments of her work.

Board: Publishing and cultural industries
Participants Pablo Harari, Inés Larre Borges and Francisco Garamona / Modera Damián Ríos
Sunday September, 5 – 4PM

During this activity, attending critics and editors will debate on the following topics: the circulation and exchange between Uruguayan and Argentinean literature; the trade of works and critical interpretations also between these two countries. They will discuss issues related to the Academy, readers and the publishing market in each side of the Rio de la Plata.

Board: Invisible Levrero
Participants Pablo Casacuberta and Felipe Polleri / Modera Guillermo Piro
Sunday September, 5 – 6PM.

Mario Levrero (Montevideo 1940-2004) was, for the most part of his life, a cult writer for a specific group of readers. During the past years, his work reached greater acclaim and is studied by literary critics. During this board, essay and prose writers will propose new ways of approaching this great author’s production.

Projections: Video poetry international show
Videobardo (VideoMess) / Curator: Javier Robledo

Before the activity at the Auditorium, a brief selection of the exhibition video poems will be projected. Given this cultural panorama, where audiovisual languages is given increasing importance, video poetry recovers this language’s structure as a means to poetic creation.
The video poems included in the show are:
Madrecita, by Gustavo Schwartz (Argentina, 7’) / Aguas del Río de la Plata, by Gabriela Alonso (Argentina, 5’) / p-o-e-s-i-a by Javier Robledo (Argentina, 5’) / You can’t be known, by Olga Tzimou (Greece, 3’30’’) / Pájaros – Buhos apagados, by Ileana Gómez Gavinoser (Argentina, 7’) / Incorporalitá speech dans le corps, by Nicola Frangione (Italy, 5’29’’) / Poema infra, by Alberto Roblest (Mexico, 8’50’’) / ok john paul lo hice, by Jorge Daffunchio (Argentina, 4’) / Orchid, by Nicolas Bernier (Canada, 4’33’’) / Mita Siita, by Jani Sipila (Finland, 4’) / six short pieces, by Nicolas Carras and John Bennett (US/France, 3’40’’) / La cruz, by Danny Soto (Colombia, 2’) / Ghost & the cristal, by Stuart Pound (England, 6’44’’) / El sueño de sisyphos, by Oreste Lattaro (Argentina, 4’30’’) / Elements, by Eric Cassar (France, 4’50’’) / Blanks in discourse 06, by Sarah Tremlett (England, 3’)

* All activities are access free. Entrance tickets to all activities taking place at Proa will be handed out on Sunday September 5, from 11AM. All Auditorium activities have limited sitting.

The complete Festival program is available at www.filba.org.ar

In a new meeting with the artists at the Auditorium, Luis Felipe Noé will have a conversation with the audience analyzing the conceptual process that lead to the realization of the works presented at Imán: Nueva York exhibition: Self Portrait and You (1968) and the stainless steel diptych Espejo plano cóncavo (1966-68). Both pieces were made during his short stay in New York City from 1965 to 1968 after obtaining the Guggengheim Fellowship.

Information: auditorio@proa.org

Program
5 PM Artists + Critics: Guided visit with Luis Felipe Noé and Mercedes Casanegra (more information>>)
6.30 PM Auditorium: Conversation with Luis Felipe Noé

Next Saturday at 6.30 PM, young art critic Claudio Iglesias will hold a conversation at the Auditorium with Alejandro Puente, an artist with a notable presence at Proa’s Imán: Nueva York exhitibition.

Continuing with the series of weekly meetings with the artists at the Auditorium, each Saturday they analyze their vast artistic career with the audience. In this opportunity, Alejandro Puente will have a conversation with Claudio Iglesias in order to study in depth his presence and work in New York City during the 60s from a contemporary perspective.

Information: auditorio@proa.org

Program
5 PM Artists + Critics: Guided visit with Alejandro Puente and María Teresa (more information>>)
6.30 PM Auditorium: Conversation with Alejandro Puente and Claudio Iglesias

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Alejandro Puente
Born in La Plata in 1933, where he studied with Héctor Cartier at the Fine Arts School. He joined the Grupo Sí, whose first expositions took place in 1961 in the Museo Provincial de Bellas Artes de La Plata and later in the Museo de Arte Moderno de Buenos Aires. During the sixties, he had solo exhibitions in various galleries in Buenos Aires, including Bonino, Ruth Benzacar and Lirolay, where he presented together with César Paternosto Nueva geometría in 1964. He participated in the first Premio Braque (1963), the Premio Ver y Estimar (1964), the Premio Nacional of the Instituto Torcuato Di Tella (1966) and the multitude show Homenaje al Viet-nam de los artistas plásticos, organized by León Ferrari and Carlos Gorriarena in the Van Riel Gallery (1966). In 1967 he received a Guggenheim fellowship, with which he traveled to New York, where he resided for four years. Before he left, he was part of the exposition Más allá de la geometría at the Instituto Torcuato Di Tella and in its North American version, Beyond Geometry, at the Center for Inter-American Relations in New York (1968), and he was also included in Latin American Artists at the Delaware Art Center (1968). In 1970 he was invited to participate in “Information”at the Museum of Modern Art in New York. From there, he went on to exhibit in Switzerland, Germany, France, Spain, Italy, Mexico, Cuba, Japan, and China. In 1985 he was chosen to represent Argentina in the São Paulo Biennial. The Fundación Konex honored him in 1992 and 2004. He is a member of the Academia Nacional de Bellas Artes.

Claudio Iglesias
Born in Buenos Aires in 1982. He writes about contemporary art for specialized art magazines and newspapers. Co-editor for PLANTA online magazine (http://plantarevista.com.ar), a platform for art critic projects. He wrote texts for diverse exhibition catalogues and worked as curator for the shows: Vínculos y retazos de magia (Links and pieces of magic) at Galería Alberto Sendrós/ arteBA, Buenos Aires, 2010; Investigación / Infraestructura (Research / Infrastructure) at Centro Cultural de España en Buenos Aires, Buenos Aires, 2009; and Emiliano López. Proyecciones habitables (Emiliano López. Livable projections) at the Esteban Lisa Foundation, Buenos Aires, 2008.

Next Saturday Eduardo´s Costa films Names of Friends: Poem for the deaf-mute (1969) and You See a dress (1970) will be previewed at the Auditorium. At 6.30PM, the artist will be available for a conversation with the audience.

Eduardo Costa
Names of Friends: Poem for the deaf-mute
New York, 1969
Super 8mm/DVD, 40x500cm, edition of 6
Colour, silent, 2’13
Script Writer/ Performer/ Director: Eduardo Costa
Camera: Hannah Weiner

Eduardo Costa, Names Of friends: Poem For The deaf-Mute
Presentation text, MAMba, Buenos Aires, 2007

This groundbreaking work was conceived by artist Eduardo Costa in 1968 and filmed in super 8mm in 1969. The script, direction and performance are by Costa, the camera is by noted US poet Hannah Weiner, then a friend of Costa’s and collaborator with him and John Perreault in the noted Fashion Show Poetry Event of the same year. A 2 1/2 m conceptual film, the silent Names of Friends was lost in New York shortly after completion, and reappeared in Buenos Aires in 2007.

The Museum of Modern Art of the city of Buenos Aires presented Names of Friends May 16-June 24, 2007 in its digital and still versions. The face of the young Costa is shown from the tip of the nose down as he pronounces 53 names of his US, Latin American, and European friends. The names included are the first names of well-known artists and writers: Vito Acconci, Scott Burton, Marisol Escobar, Rubens Gerchman, John Giorno, Dan Graham, Lucy Lippard, Bernardette Mayer, Hélio Oiticica, Octavio Paz, John Perrault, Roberto Plate, Susana Salgado, Robert Smithson, Marjorie Strider, Anne Waldman, Lewis Warsh, Hannah Weiner and Luis Wells, amongst other who are or not in the art world.

Only those who read lips can fully understand the work. The regular audience instead is denied access to part of the information, which invites it to focus on the usually neglected movement of lips, tongue, teeth, jaw and saliva. Both the moving and still versions of the film present visually arresting images derived from a conceptual platform. The digital transfer of the original footage was projected at the museum’s auditorium. Frame-by-frame still and TV versions were in the exhibition room nearby.

You See a dress (1970)
9’’22; sonido; inglés
Eduardo Costa

From literature to performances, Scott Burton. Wadsworth Athemeun, April 14, 1970.

These tour pieces have their genesis in literature but seek to extend that medium. Although the writers’ individual intentions vary, all move beyond not only the printed page but further, beyond the word itself as the unit of expression. An important, often necessary, verbal element remains – whether in the formulation of the intention or the concept, or as an adjunct or a parallel to the performed part of the work- but in no case is there the verbal self-sufficiency of traditional writing, even that in non-traditional styles. These works are not in new style but in new mode. Their visual and/or aural aspects are at the least as important as the activity of reading, and usually more important.

Of equal importance here, and more innovatory, is the use of time. Other forms of literature, such as concrete poetry, have dealt with words as one more kind of visually apprehended information but the new “performed literature” incorporates as wall the element of duration. Their existence in time is essential to the very conception of these pieces. They are this categorizable as “theatre”, for they can only be experienced in extension, as processes or sequences in time, and they control the audience’s length and rate of exposure (the opposition is true of reading a book or looking at a painting). But these works for the theatre are unlike traditional dramatic art because they exist explicitly in the same, actual time as that of the viewer instead of offering fictive times and places. These are not illusionist but literalist theatre pieces.

For this reason they have a relation to the chief form of “abstract” theatre, the dance, and especially, recent dance styles which mix genres or substitute one for another. Also related are the two dominant tendencies now in the plastic art: “process” art, which changes or is changed throughout a span of time; and “conceptual” art; which replaces purely visual with verbal modes. However, the works on this program, whatever their genesis or esthetic parallels, exist first and last in the medium of live performances and explore systematically its characteristics.

You see a dress, Eduardo Costa

My piece does not imply a strong belief in the importance of physical objects or in the importance of visual over other kinds of perception. Also, it brings theatre closer to Hypnotism and Fashion.