Mondongo is an Argentine artist group created in 1999, formed by Juliana Laffitte and Manuel Mendanha. Their work has always privileged the image, tightening and deepening its impact through the selection of materials in terms of their content, depending on what best reinforces the concept of his work. Mondongo was commissioned by the royal Spanish family to make official portraits of Queen Sofía, King Juan Carlos and Prince Felipe (Cumbre Portrait Series, 2003); they made them from colored mirrors referring to the colonial trade of goods. Thus, they chose cookies to play porn images extracted from internet, extended and transformed into a sort of pornographic candy for the suburban housewife (Black Series, 2004); plasticine for a contemporary, ironic and version post Freudian of the tale of Little Red Riding Hood (Red Series, 2004-2007); or cotton threads for soft texture of their own sex scenes (Love Series, 2006). Their work tries to develop a sense from the chaotic mass of objects and references which constitutes our daily field. In the show Merca (Blow; 2005), their artwork was shown through three-dimensional fragments of the dollar bill, embroidered using thread and nails, floating in the air, like frozen objects of desire. In 2013 they held a solo show in Buenos Aires, Mondongo Argentina at the Museum of Modern Art, which was considered by critics as one of the best of the year. They displayed part of the “Intimate Portraits” Series (2005-2015), “Cajitas” Series (2011-2012), and “Argentine” Series (2009-2012). In 2016 they exhibited this Series, and three works from the twelve “Skulls” Series (2009-2013) at MAXXI Museo Nazionale Delle Arti del XXI Secolo in Rome. They have exhibited in Buenos Aires, San Juan de Puerto Rico, Madrid, London, Brussels, Zurich, Basel, Rome, Los Angeles, Houston, Chicago, Beijing and Bangkok among others.
In the last years they develop performance activities, like No soy tan joven para saberlo todo, where a Pinocchio with mirror mask and long nose, solitary and contemporary, walk around the “Hall of the Mirrors” of Versailles palace with the distorted perspective where he converts daily activities into rituals. In February of 2016 they presented in Rome, at the MAXXI Museo Nazionale Delle Arti of the XXI Secolo, an exhibition composed by a great installation investigating in the classic topic of the landscape, of 45 meters of length exhibited in the Museum of Modern Art of Buenos Aires in 2013, and works of the Calaveras Series, made in plasticine. They are currently developing a series of puppets and in the context of the Pacific Standard Time LA/LA in Los Angeles they exhibit their works at the Museum of Latin American Art (MOLAA), the Movement of Latin American Art and Culture (MACLA), the MAK Center and the Los Angeles County Museum of Art ( LACMA). They live and work in Buenos Aires.
Mondongo. There are three burrows to which the artists invite us to get lost among creepy puppets, dreamlike landscapes, broken dreams, species of cadavre exquis and timeless tunnels.
12.06.2018 [...] There is a phenomenon that science still has not been able to explain called crown shyness. Certain species of trees’ branches grow close but never graze each other. As if they could communicate, each tree establishes the margins of its own space, its own territory. Verónica Flom for Los días.
25.05.2018 Buenos Aires, Argentina. The gallery includes works by Nicanor Aráoz, Joaquín Boz, Nicola Costantino, Matías Duville, Mondongo, Alejandra Seeber, Amalia Ulman and Agustina Woodgate in the main section of the fair. And is involved with CABINET by Marcelo Pombo.
24.05.2018 Red Sunset, 2018. Sanguine on paper, 100 x 70 cm. Matias Duville is part of the collection of the Museum of Latin American Art (MOLAA), Long Beach, USA.
13.05.2018 As a closing exhibition of his BAR project residency. The seduction of the innocents displays a new essay of Martin Legón. This work, mix between anthropology, poetry, and sociology of the media, breaks down the paradoxical place occupied by the artistic object today.
04.05.2018 Pardés is the site-specific installation of Nicola Costantino, created especially for the Sala Laberinto. It means "orchard" in Hebrew and refers also to the idea of Eden, that place that is reached to delight with all the fruits offered. Usina del arte, Buenos Aires.
11.04.2018 São Paulo, Brazil. Matías Duville participates in the Solo Setor, dedicated to projects of a single artist and curated by Luiza Teixeira de Freitas.
28.03.2018 [...] The construction of Gothic environments can be envisioned as an obsessive insistence that has gradually perfected Nicanor Aráoz’s art. That energy is a form of imagination that operates by exacerbating the tensions that organize the real: its expressive language is the symptomatic torment produced by the historical and hysterical antagonisms between good and evil, the healthy and the sick, the sanctioned and the perverse, crime and law, the repressive control of forms and the monstrous abundance of the deformed.
22.03.2018 ‘Privilege’ Amalia Ulman’s first solo show in KWM Art Center, The aim of the exhibition is to introduce Ulman’s practice to a new audience exposing the contradictory roles of contemporary professional and private life as they play out amongst a monopoly of contemporary stereotypes.
08.03.2018 New York, USA. For the first time, BARRO is present at The Armory Show. In this edition, Nicanor Aráoz and Amalia Ulman participate with installation, video, drawings, sculpture, and objects. Pier 92, Booth F9.
06.03.2018 Curated by Chus Martínez for Castello di Rivoli, Torino, Italy, the exhibition Metamorphoses – Let Everything Happen to You explores the concept of transformation and flourishing through the works of emerging international artists. It includes works of Nicanor Aráoz among other artists. Until June 26th, 2018