Agustina Woodgate (Buenos Aires, 1981) The artistic practice of Agustina is focused on the study of systems, the theories of value, power relations and logics operating in society. She traces new mappings dissolving the political limits that organize paradigms, unifies languages by visiting displaced communities, materializes and evidences reigning power relations and denounces forms of domination through her works. She sands maps and bills, draws hopscotch boards, gives a voice to the silenced and work to the unemployed, creates pieces from the discarded and deconstructs major paradigms; her pieces work on the ways institutional poetics and politics organize public and private space, starting from their infrastructure and domination discourse. Utilizing a playful, polysemic, minimalist and blunt language, through sculptures, public interventions and social interactions Woodgate introduces new landscapes that address the audience and resignify the system of existing relationships. In order to do so, she transforms and reinserts the remainders of society in works of art that pave the way for new possibilities of perception and action.
Agustina Woodgate’s projects have been commissioned by the Whitney Biennial, New York; Bienal de las Américas, Denver; ArtPort, Tel Aviv; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington, DC; The Bass Museum of Art, Miami; Kulturpark, Berlin; Locust Projects, Miami y MassMOCA, Massachusetts; among others. Some of her most recent solo exhibitions include Cosmética (Spinello Projects, 2017), Común y Corriente (Barro, Buenos Aires, 2016), ABC Berlín (Spinello Project, Miami, 2015), Rugs (Arts and Culture Center of Hollywood, Hollywood, 2015). She has held several solo exhibitions in institutions such as the Faena Arts Center (Buenos Aires, 2014), Art and Culture Center of Hollywood (Los Angeles, 2014) and KW Institute for Contemporary Art (Berlin, 2012). Her work was part of the exhibition Disruptions at Collins Park specially commissioned for Art Basel Week (Miami Beach, 2019)Woodgate’s work participated in group exhibitions at The Museum of Contemporary Art North Miami (Miami, 2019), Faena Festival (Miami, 2018), Ideobox Art Space (Miami, 2018), Peabody Essex Museum (Massachusetts, 2018), Bienal 4th Istanbul Design Biennal (Estambul, 2018), Orlando Art Museum (Florida, 2014), Denver Art Museum (Colorado, 2013), White Box, (New York, 2012), Gallery Nosco (London, 2011), Good Children Gallery (New Orleans, 2011), Naples Museum of Art (Florida, 2011), North Carolina Museum (North Carolina, 2011), Montreal Biennale (Canada, 2009) and the Museum of Contemporary Art (Miami, 2007/2015). In 2011 she founded Radio Espacio Estación, a nomadic, multilingual, online radio station. She lives and works in Amsterdam and Miami.
Chorros, by Agustina Woodgate, penetrates the city infrastructure of Buenos Aires, constructing a water processing and distribution system. Chorros is composed of three bodies of work– The Plant, The Bags and The Laundry. BARRO Buenos Aires, is located four blocks away from the Riachuelo River, part of the Matanza-Riachuelo basin, which holds the Puelche Aquifer.
16.05.2025 Lolo y Lauti transform El gusanito, Jorge de la Vega’s cult LP, into a contemporary opera starring singer and performer Daiana Rose, who performs the songs in their original order, immersed in the duo’s visuals.
21.04.2025 Artworks by Alejandra Seeber, Matías Duville, and Mónica Giron are part of the Malba Collection and were included in Latinoamericano, the first major exhibition of Latin American art in the Western Asia and North Africa region at the National Museum of Qatar in Doha.
15.04.2025 “Argentina”, monumental 15-panel installation, and a first transformation of the chromatic arrangement of “El Baptisterio de los colores” by Mondongo are on view at ArtHaus.
05.04.2025 [...] We might regard this exhibition as a choreography of situations that explore ways of being, sitting, posing and moving. A kind of theater of thwarted utility. Furniture as an animal: not a tool, but a mutant organism.In these shifts, the body becomes a central hypothesis: not a passive recipient of design but an unstable variable that energizes and transforms the material.Excerpt from Ana Vogelfang's text for Mueble escultura + BARRO. Until May 16, 2025.
04.04.2025 Mónica GIRON and Nacha CANVAS participate in the group exhibition El aire vacilaba a su alrededor. Artistas latinoamericanas y sus poéticas del mundo, curated by Sofía Dourron. The exhibition proposes a reflection on how the notions of space, territory, and landscape are modulated by our bodies and, in turn, how our bodies are shaped by the environments that surround them.
04.04.2025 Group Show. Francisco Alvarez, Nicanor Aráoz, Lucas Barbuzzi, Nacha Canvas, Martín Churba, Juan Cruz, Max Degli, Leopoldo Estol, Nacho Fabio, Camila Fanego Harte, Samantha Ferro, Tomás Fracchia, Nicolás García Uriburu, Gyula Kosice, Cervio Martini, Jorge Michel, Marta Minujín, Kayen Montes & Alison Bartlett, Rocio Nerón Coiro, Nacho Novillo, Mónica Sartori, Juan Jose Souto, Maria Clara Tipitto & Santiago Bouzat, Gregorio Vardanega, Victoria Young. Curated by: Lucila Garcia de Onrubia y Cinthia Kazez. Opening April, 5. Caboto 531 La Boca, Buenos Aires
27.03.2025 Rubbing the thumb and middle finger to produce a quick noise that expands in space brings together the human body, movement, transience, and sonic matters. At the 14th Mercosul Biennial, this title – "Estalo" – is an invitation to inhabit the movement and the transformation from one state to another. Chaile presents his Centro Cultural Ambulante, a performance projects in constant development since 2021, in Porto Alegre.
15.03.2025 In Continents like seeds we can see how Poblete’s practice complicates how social and cultural identities are claimed, contested, or imposed without seeking resolution, but rather by opening conversations about life and transformation beyond inscribed territories. At CARA New York, until August 2025
14.03.2025 Canvas, winner of the 2023 Premio Azcuy, inaugurated her Suave Star project, created for the Donna Fiore building with technical and curatorial advice from the Azcuy studio and the Buenos Aires Museum of Modern Art. "My proposal was to work with concrete as a cross-cutting axis in the project. To take this element and make it work in the architecture, art, and spatial design," in the artist's words.
14.03.2025 Fabril la mirada is Lucrecia Lionti's first solo show in a museum, curated by Carla Barbero and featuring an installation created especially for the exhibition. Fabril la mirada does not seek to reaffirm the telluric values of craft, but instead to confront its visual and ethical aspects.
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