'MODELOS PARA ARMAR' THINKING LATIN AMERICA FROM THE MUSAC COLLECTION

Prologue: the structure of survival: a favela house, a volkswagen, a pool of blood...




Meyer Vaisman, 'Verde por fuera, Rojo por dentro', 1995, reconstruction of his parents dressing room inside a favela house


Damian Ortega, This is Not a Citroen DS



Jorge Macchi, 'Un Charco de Sangre', a pool of blood, cut outs from tragedy newspapers...



Maria Teresa Hincapie, 'Una Cosa es una Cosa', 1990/2005, video documentation of a performance in which she creates a labyrinth with her possesions


Julieta Aranda, 'There has been a Miscalculation (Flattened Amunition), 2007, 100 pulverized science fiction novels written between 1870 and 2007, a compressor blows up the dust at random intervals...


Pedro Reyes, screen


Teresa Margolles, narco jewelry



Ana Mendieta



Luis Camnitzer's viewer and kaleidoscopic view from the viewer, installed at different locations in the exhibition


Alexander Apostol, Caraca's favelas houses with windows erased...


Andreas Angelidakis, architect of the exhibition's architecture/display







Fernando Bryce drawings based on documents on European colonization


Erik Beltran's diagram



video cabins and the temple/pyramid for Leonilson's drawings



Leonilson, 'His Interior Protector Mountain', drawing on top of the pyramid...


Martin Sastre's video



Mario Garcia Torres, 'Moonwalk' on Rigo Tovar being the first moonwalk dancer...


Melanie Smith and Rafael Ortega's film, filmed at Salon Covadonga in Mexico City




Carla Zaccagnini's rubber stamps on found stories on Leon's newspaper, stamped on all printed material coming from the museum



Valeska Soares



Rivane Neuenschwander's calendar, 31 tables with collected found papers with the date number on it



Gilda Mantilla and Raimond Chaves' drawing room






Raimond Chaves and Gilda Mantilla's drawings


Caio Reisewitz landscape photographs next to Luis Camnitzer's viewer



avaf mural with video homage to Los Super Elegantes


tropical garden behind the exhibition's escenography



Carlos Amorales



Diango Hernandez


Carlos Garaicoa's construction of a city's nightscape


Matias Duville, wall drawing


Federico Herrero's painting


Federico Herrero's mural in MUSAC's patio





Carla Zaccagnini and Federico Herrero, live sculptures


Gran Colombian Combo: artist Raimond Chaves, Andrea Echeverri, Musac curator Maria Ines Rodriguez, Hector Buitrago!


Hector Buitrago and Andrea Echeverri, 'Los Aterciopelados' in concert


Andrea Echeverri with cheverista flag


Los Aterciopelados concert outside MUSAC


and next day Cheverista Internacionale brunch at Maria Ines...


MODELOS PARA ARMAR:
Thinking Latin America from the MUSAC Collection

Artists: Carlos Amorales , Alexander Apóstol, Julieta Aranda, AVAF, Fernando Bryce, Erick Beltrán, Iñaki Bonillas, Tania Bruguera, François Bucher, Luís Camnitzer, Raimond Chaves, José Damasceno, Dr. Lakra, Matías Duville, Sandra Gamarra, Carlos Garaicoa, Mario García Torres, Diango Hernández, Juan Fernando Herrán, Federico Herrero, María Teresa Hincapié, Leonilson, Jorge Macchi, Gilda Mantilla, Gilda Mantilla y Raimond Chaves, Teresa Margolles, Hernán Marina, Ana Mendieta, Mujeres Creando, Óscar Muñoz, Rivane Neuenschwander, Damián Ortega, Álvaro Oyarzun, Nicolás París, Jorge Pineda, Caio Reisewitz, Rosângela Renno, Pedro Reyes, Miguel Ángel Rojas, Martín Sastre, Melanie Smith y Rafael Ortega, Valeska Soares, Javier Téllez, Meyer Vaisman , Carla Zaccagnini.
Curators: Agustín Pérez Rubio, María Inés Rodríguez, Octavio Zaya
Exhibition design: Andreas Angelidakis
Venue: Galleries 1, 2, 3, 4, 5 & 6, MUSAC
Dates: 26 June 2010 – 9 January 2011

From 26 June 2010 to 9 January 2011, within its 5th Anniversary programme, the Museo de Arte Contemporáneo de Castilla y León will be devoting its entire exhibition space to a major exhibition displaying most of the pieces by over 40 Latin American artists held in the MUSAC Collection. Under the title MODEL KITS. Thinking Latin America from the MUSAC Collection, the show curated by Agustín Pérez Rubio (MUSAC Director), María Inés Rodríguez (MUSAC Head Curator) and Octavio Zaya (MUSAC curator at large), invites viewers to trace their own course through contemporary Latin American art, over a layout designed by architect Andreas Angelidakis. In parallel, all activities scheduled at MUSAC between June 2010 and January 2011 will focus on Latin America, including new projects at Laboratorio 987 and the Showcases, artist workshops, publications, seminars, performances, concerts, etc.

MODEL KITS. Thinking Latin America from the MUSAC Collection draws its inspiration from 62/ A Model Kit, a novel published by Julio Cortázar in 1968, which stands as one of the most enduringly original and ambitions projects in Spanish-language literature. Translating it into a different period and discipline, the exhibition modestly attempts to apply the unique novel's vision in the way it rejects and subverts any single interpretation or conventional linear narrative of the works on display, challenging the viewer to establish her own parameters and directions, connections and relationships. MODEL KITS includes around 100 works by over 40 Latin American artists, produced since the late 1980s (under the MUSAC Collection's purchasing criteria), covering a broad range of media and languages, artistic strategies and significations, references, objects and situations, which jointly contribute to assembling varying narratives and permutations. From leading deceased artists who hold pride of place in Latin American Art History like Ana Mendieta, Leonilson or Maria Teresa Hincapié; to great masters such as Luis Camnitzer, Oscar Muñoz or Miguel Angel Rojas; the landmark 90s generation of Valeska Soares, Rosângela Renó, Jorge Macchi or Carlos Garaicoa; all the way to young artists who are making their mark on the current landscape, such as Mario García Torres, Julieta Aranda or Matías Duville, amongst others.

MODEL KITS challenges the viewer to take the part of an active and liberated reader who writes her own score, creating a new narrative. Under this perspective, the exhibition's varied elements can be combined and analyzed according to the concerns and references each viewer brings to bear. The exhibition does not therefore adhere to a central theme or nucleus around which to develop a privileged narrative. While it may be said that the works' diverse perspectives and languages reflect a critical perspective on society and its relationships with other contexts, the exhibition brings together discourses and approaches that are personal and philosophical, urban and political, literary and artistic, etc., to the point that they cover each and every one of the undercurrents defining contemporary art as it is made anywhere in the world, whether it be Paris, Tokyo, Ohio or Bogota. In this sense, the exhibition is projected as an infinite 'ars combinatoria', not limited to the featured artists' Latin American geographical and cultural sphere, but aspiring to establish varying and contrasting readings and conclusions, wavering patterns and ambiguous hints, unresolved questions and diverging paths, like a labyrinth with no exit.

Reality and fiction, surprise and mystery, humour and pain go hand in hand, setting a pace marked by a set of events in no specific order, defined alternatively by logic or by intuition; by action or by contemplation; by the material or the spiritual. In its diversity, the exhibition invites us to think of Latin America as a project in progress, laden with endless possibilities; a project with no constraints in space or time, multifaceted and open to different worlds; a project that expresses its artistic interest in what is shared and collective through 'singularity' as opposed to identity. A model kit waiting to be assembled.

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