2000 / 2010 – Silvia Rivas https://silviarivas.com/en Wed, 28 Jan 2026 17:59:11 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.1 https://silviarivas.com/wp-content/uploads/2019/02/cropped-sr-icon-2019-1-32x32.png 2000 / 2010 – Silvia Rivas https://silviarivas.com/en 32 32 Transcurso y urgencia https://silviarivas.com/en/transcurso-y-urgencia/ Wed, 01 Nov 2023 18:47:01 +0000 https://silviarivas.com/?p=3330

 

Passing and Urgency, of the series Passing and Urgency, 2017.

About the series

The liquid flows like life, constant, undifferentiated in time. An instant triggers change; in that moment, both the circumstances and the angle of perception are others.

The minimum measure of the instant and its conclusiveness, in relation to what flows, where instants are either lost or contained.
Time marked by a fragment of space traveled, a fragment that is exhausted. The actionis superimposed on the dispassionate passing, the regularity of the series, a flow in unlimited time and space.

 

Video Still.

Works

Passing and Urgency I

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency IV

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency V

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency XI

Photography | Lambda printing on photographic paper. 125 x 210 cm. 2009

Passing and Urgency (2017)

Video installation | Two or three video channels. HD video. Stereo sound. Variable dimensions. 1′ 54″ loop. 2017

Passing and Urgency (2019)

Video installation | Four video channels. HD video. Stereo sound. Variable dimensions. 1′ 54′′ in loop. 2019

Exhibitions

Notes on Time. Recoleta Cultural Center (CCR). Buenos Aires, Argentina, 2001

Landscape to Be Defined. Diana Lowenstein Fine Arts, Miami, Florida, United States, 2010

Nature: Refuge and Resource for Humankind. Kirchner Cultural Center (CCK). Curated by Gabriela Urtiaga, Ana María Battistozzi and Laura Buccellato. Buenos Aires, Argentina, 2017

Shared Absense. Rolf Art, Buenos Aires, Argentina, 2019

Argentina Today. Banco do Brasil Cultural Center. Curated by Frankin Espath Pedroso and Adriana Rosenberg. Sao Paulo and Río de Janeiro, Brasil, 2009

]]> Notas sobre el tiempo https://silviarivas.com/en/notas-sobre-el-tiempo/ Mon, 30 Oct 2023 14:16:50 +0000 https://silviarivas.com/?p=3158

 

Notes on Time. Centro Cultural Recoleta, 2001.

About the series

The matter in which time is incarnated, the void where it is annulled.

Duration as a lifetime and the instant in which everything changes; time as a scene.

To mark... to erase. Like the sea, passing back and forth weaving sequels.

 

Rain. Video still.

Works

Rain

Video installation | Two channels. DV Video. Stereo sound. Variable dimensions. 6′ 39′′ loop. 2001

 

Rain. Video stills.

Matter of Time

Video installation | Three channels. DV Video. Stereo sound. Variable dimensions. 0′ 54′′ loop. 2001

 

Matter of Time. Video stills.

Infinite Resource

Video installation | Single-channel. DV Video. Stereo sound. Variable dimensions. 4′ 36′′ loop. 2001

 

Infinite Resource. Video still.

Waiting

Video installation | Two channels for monitors. DV Video. Stereo sound. Variable dimensions. 0′ 52′′ loop. 2001

 

Waiting. Video still.

Exhibitions

Notes on Time. Recoleta Cultural Center (CCR). Buenos Aires, Argentina, 2001

The myth of plenty. Videodrome. Curated by Prisca Meslier, GIUNGLA. Lucca, Italia, 2020

Latest Trends in the MAMbA Collection. Museum of Modern Art of Buenos Aires. Curated by Laura Bucellato. Buenos Aires, Argentina, 2002

Silvia Rivas. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2001

Press

]]> Nocturnos https://silviarivas.com/en/nocturnos/ Mon, 30 Oct 2023 13:34:01 +0000 https://silviarivas.com/?p=3118

 

Nocturnal, Moons and Anubis, of the series Nocturnal, 2003.

About the series

The moon illuminates with its borrowed light,

A stray dog wanders, a scavenger of noble ancestry.

 

Lost Anubis. Video still.

Works

Lost Anubis

Video installation | Single channel for monitor. DV Video. Stereo sound. Variable dimensions. 6′ 20′′ loop. 2002

Nocturnal I

Photography | Lambda printing on photographic paper. 70 x 53 cm. 2003

Nocturnal VIII

Photography | Lambda printing on photographic paper. 38 x 114 cm. 2003

Nocturnal XI

Photography | Lambda print on photographic paper. 27 x 34 cm. 2005

Nocturnal XII

Photography | Lambda print on photographic paper. 27 x 34 cm. 2002

Nocturnal XV

Photography | Lambda printing on photographic paper. 38 x 114 cm. 2003

Three moons

Photography | Lambda printing on photographic paper. 2002

Exhibitions

Landscape: An Immersive Art Experience. Casa Naranja. Curated by Florencia Battiti and Daniel Fischer. Córdoba, Argentina, 2020

5006 Gallery. Design Suites Hotel. Buenos Aires, Argentina, 2005

Festival de la Luz. Del Infinito Gallery. Buenos Aires, Argentina, 2004

Before Now. Miguel Frías Contemporary Art, Buenos Aires, Argentina, 2004.

Nocturnal. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2003.

Art in progression III. Centro Cultural General San Martín. Buenos Aires, Argentina, 2003

]]> Llenos de esperanza https://silviarivas.com/en/llenos-de-esperanza/ Mon, 30 Oct 2023 13:00:10 +0000 https://silviarivas.com/?p=3101

 

Full of Hope, of the series Full of Hope, 2003.

About the series

To give the image of the perception of the present,
to fix that fugitive sensation of “being there”.

The dynamic unfolds in a space where an individual is inserted in their present, trying to fix what vanishes, resisting the inevitable.

 

Video still.

Works

Full of Hope

Video Installation | Variable channels and devices. Digital video. Stereo sound. Variable dimensions. 6′ 11″ loop. 2002

Condemnation

Video installation | Four channels. CRT monitors. DV video. Stereo sound. Variable dimensions. 1' 02" loop. 2002

Resistance

Video installation-object | Single channel. 10" LCD screen. Iron press. DV video. Stereo sound. 0' 22" loop. 20 x 23 x 20 cm. 2003

Exhibitions

Chronotopies. MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curated by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies. Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

Rethink Everything. Rolf Art. Curated by Andrea Giunta. Buenos Aires, Argentina, 2020.

Body Policies. Female Voices of Latin-America. Vortic London. Online exhibition. Curated by Andrea Giunta. London, UK, 2021

Puisqu’il fallait tout repenser. Les Rencontres de la photographie. The Rencontres d’Arles. Curated by Andrea Giunta. Arles, France, 2021

Havana Biennial. Wifredo Lam Contemporary Art Center. Havana, Cuba, 2003

Banco Ciudad de Buenos Aires Award. National Museum of Fine Arts, Buenos Aires, Argentina, 2003.

Video Emergence 01. MOTP – La Fuga House. Curated by Graciela Taquini. Mar del Plata, Buenos Aires, Argentina, 2002.

 

Condemnation, ARCO, Madrid, 2020.

]]> Todo lo de afuera https://silviarivas.com/en/todo-lo-de-afuera/ Tue, 24 Oct 2023 16:00:17 +0000 https://silviarivas.com/?p=3061

 

Everything Out There, documentation at Museo de Arte Moderno de Buenos Aires, 2004.

About the series

Everything Out There is the question, the undefined object, the diffuse wish.

The body is the limit and this limit is the only certain thing.
These are empty moments, there is no event whatsoever, everything is circumstance.

Sometimes the conviction is to play the game indefinitely. The contact of one body with the other is the only reference, there is no reliable surrounding, the balance is precarious, the surface of support abandons, the other one lets go.
The force of gravity hides somewhere and the anchor is the conflict.

Like in the hours of insomnia, there is no mark to trace the path.
And so things are … someone sings to themselves to sustain themselves so that the echo sets the limits of everything that is inside.
Everything Out There irremediably, remains outside. Inside is the abyss and desire, the crackle of anxiety and a song of consolation.

 

Video still.

 

Everything Out There, A Gram of Dust, The Surface Won't Loose, from the series Everything Out There, 2004.

Works

Everything Out There

Video installation | Variable channels and devices. DV video. Stereo sound. Variable dimensions. 6′ 11″ in loop. 2002

 

Video still.

Distortion

Video installation | Single channel. Black tulle screen. DV video. Stereo sound. Variable dimensions. 11' 9" loop. 2004

A Gram of Dust

Video installation | Single channel. DV Video. Stereo sound. Variable dimensions. 14′ 29′′ in loop. 2004

The Surface Won't Loose

Video installation | Variable channels. DV Video. Stereo sound. Variable dimensions. 19′′ in loop. 2004

Black Abyss in a White Landscape

Video installation | Single channel. 12″ monitor. DV video. Stereo sound. Variable dimensions. 7′ 59″ in loop. 2004

Marsh (Structure)

Intervened Photography | Lambda and gouache printing on photographic paper. 2005

Marsh (Succession)

Photography | Lambda and gouache printing on photographic paper. 2005

Exhibitions

Chronotopies.  MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curatedy by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies.  Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

Everything Out There. Museum of Modern Art of Buenos Aires. Buenos Aires, Argentina, 2004.

The Victors and the Vanquished. Museum of Modern Art of Buenos Aires. Curated by Ana María Battistozzi. Buenos Aires, Argentina, 2014

Intersections. Technology, Nature, Subjectivity. Arte x Arte Gallery. Curated by Jorge Zuzulich. Buenos Aires, 2009

Casa Abierta, Open House Embassy of the Argentine Republic. Curated by Gabriela Salgado. London, United Kingdom, 2006.

Video Integracija – Video Integration. Belef Center. Belgrade Summer Festival. Project author: Gabriel Savić Ra. Spanish selection: Nora Ancarloa y Marga Ximénez. Belgrade, Serbia, 2005.

The Subtle Vertigo of the Image. Parque de España Cultural Center. Curated by Claudia Laudano. Rosario, Santa Fe, Argentina, 2005.

Nunca Más/Never Again. Natalie and James Thompson Gallery. San José State University. Curated by Graciela Smith. San José, California, United States, 2004.

MAMbA – Fundación Telefónica Prize: Art and New Technologies. Espacio Fundación Telefónica, Buenos Aires, Argentina, 2004.

]]> Tiny Events https://silviarivas.com/en/tiny-events/ Tue, 17 Oct 2023 17:55:05 +0000 https://silviarivas.com/?p=2991

 

Tiny Event, of the series Tiny Events, 2005.

About the series

The portrait is the tool to show the singularity, isolation, or rather, the incommunicability of the individual, but fundamentally, to show the individual in their condition as such. That condition, common to all, is the only available means to establish a link.

A person is presented in their present, in a single action that extends indefinitely in time. In this action and its uncertain potentiality, the story concludes. The confrontation of these two temporal series reveals the fissure between these beings and a possible context; it is not a circumstance, but a condition.

This gap, or off-centered gaze, is the syntax of the discourse, the necessary component to express the condition of the being. Everything is counterpoint between these physiognomies glued to a background devoid of spatial references and the passage of a walker who, looking down, briefly registers the remnants of an alien tumult. On one side, a landscape that harbors nothing but the useless, the scene of the trivial, a surface that does not reach the status of "place"; on the other, the forceful presence of a face, of a subject, and their individuality as the only possible place.

A change of attitude is not necessarily read in the signals or gestures of the body, at least not in an evident way. The intensity of the gesture contradicts grandiloquence. Moreover, in this case, looking up and seeing is not a guarantee of anything; it is an internal event. There is no certainty; it only opens up a possibility. As Kierkegaard would say, here "truth is subjectivity," and subjectivity is confined within the limits of a body.

Tiny Event. Video Stills.

Works

Red Dreams I

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Black Dreams I

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Dark Dreams

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Light Dreams

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Balloons and Streamers

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2006

Ceibo Flower II

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2006

Holes II

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 150 cm. 2007

Black Plane

Intervened Photography | Inkjet printing, graphite and acrylic on Magnani paper. 50 x 200 cm. 2006

Tiny Events

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2008

Many

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 49 x 147 cm. 2008

Broken Skyline

Video installation | One or two channels. DV Video. Stereo sound. Variable dimensions. 3′ 30′′ loop. 2006

Tiny Event

Video installation | Five channels. DV video. Stereo sound. Variable dimensions. 3′ 39′′ in loop. 2006

Exhibitions

Focus – Photography. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2021

Digital Media. La Nau, University of Valencia. Curated by Cristina Ghetti and Andrea Racciatti. Valencia, España, 2008

Multimedia Images of a Complex World. Visions from Both Sides of the Atlantic. Sala de Santa Inés, Seville; Hospital Real, Granada, Spain; Recoleta Cultural Center (CCR), Buenos Aires; Department of Visual Arts Prilidiano Pueyrredón, National University of the Arts (UNA), Buenos Aires; Centro Multimedia, National Center for the Arts, Mexico City; Estación Indianilla Cultural Center, Mexico City; Laboratorio de Arte Alameda, Mexico City, Mexico; Alliance Française and Fundación Ludwig, Havana, Cuba. 2008

Tiny Events. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2007

Adaptacions Urbanes III. MX Espai 1010. Curated by Micaela Patania. Barcelona, España, 2007

Visual Arts National Salon. Palais de Glace. Buenos Aires, Argentina, 2007

Rivas + Trilnick. A possible extension. RO Gallery. Curated by Alina Tolosa. Buenos Aires, Argentina, 2006

Denegri-Golder-Rivas. Video installations. Espacio Fundación Telefónica. Curated by Laura Buccellato. Buenos Aires, Argentina, 2005

Credits

  • Performers: Young people from Fundación Crear Vale la Pena, Centro Puertas al Arte.
]]> Paisaje a definir https://silviarivas.com/en/paisaje-a-definir/ Tue, 17 Oct 2023 15:40:51 +0000 https://silviarivas.com/?p=2956

 

Migrants, of the series Landscape to Be Defined, 2007.

About the series

To speak of the Río de la Plata as a surface, as a stage, as a neutral platform.

The river analogous to the plain with which it merges.

To seek to define a landscape of attraction and shelter or, later, of danger and rejection.
To define it by its minimal geometry that only catches the eye in the very light trace of the horizon, by the color of earth melted in water... or by the reverberation of the light crying what it hides in the soft texture of the plane.
Half earth, half water, a sad mantle that covers names and blurs the traces of a battlefield, a fertile mantle that gave more than expected. A temperate home where, at times, it becomes difficult to feel at home.
The ubiquitous and flickering outline of the horizon is only ahead, it responds to the poles of violence, of refuge, of depletion and abundance. The horizon is direction and certainty, a line behind which inevitably lies a livable reality. Petals rain down, like thousands of individual stories.

Video still.

Works

Migrants

Video installation | Two channels. DV Video. Stereo sound. Variable dimensions. 2′ 19′′ in loop. 2007

River II

Photography | Inkjet printing on photographic paper. 53 x 152 cm. 2008

River VII

Photography | Inkjet printing on photographic paper. 53 x 152 cm. 2008

Exhibitions

Landscape to Be Defined. Diana Lowenstein Fine Arts, Miami, Florida, United States, 2010

Centenario Roggio Visual Arts Award. Emilio Caraffa Provincial Museum of Fine Arts, Córdoba, Argentina, 2008

Landscape To Be Defined (Migrants) Art Gallery Jolie Bistro. Curated by Fabián Trigo. Buenos Aires, Argentina, 2012

Reality and Utopia. 200 Years of Argentine Art: A Vision from the Present. Academy of Arts of Berlin, Pariser Platz venue. Curated by Diana Wechsler. Berlin, Germany, 2010.

636. Six Rivers, Three Countries, Six Artists. Museum of Contemporary Art (MAC). Curated by Mario Fonseca. Santiago de Chile, Chile, 2008.

]]> Zumbido https://silviarivas.com/en/zumbido/ Mon, 16 Oct 2023 21:28:27 +0000 https://silviarivas.com/?p=2864

 

Buzzing (Dynamics), documentation at MALBA, 2010.

About the series

To point out the coincidence, or rather, the misalignment between a cause and its effect.

To attach qualities in a certain temporary action.

The synchrony, slightly displaced or fatally chained, between an intention and its result. An action: a consequence… the reversibility, the vicious circle.

To insist, to exert an influence
or the frustration of this attempt.

From purpose to nonsense, exasperation and irony are issues that circulate through a simple action.

 

Buzzing (Faith) Detail.

Works

Buzzing (Dynamics)

Video installation | Single-channel or three synchronized channels. HD video. Digital animation. 5.1 sound. Variable dimensions. 3' 42" loop. 2010

Zumbido (Dinámicas), Trienal de Acihi 2025.

Dynamics (Scenes)

Photography | Glyclee printing on photographic paper. 29 x 110 cm each. 2011

Never-ending Weave

Video installation | Single-channel. HD video. Digital animation. 5.1 Sound. Variable dimensions. 2′ 10′′ loop. 2010

Buzzing (Faith)

Video installation | Variable channels for 12′′ monitors. HD video. Digital animation. Stereo sound. Variable dimensions. 6′ 5′′ loop. 2010

Buzzing (Faith).

Buzzing 1

Drawing | Graphite on magnani paper. 110 x 450 cm. 2010


Detail.

Exhibitions

Aichi Triennale 2025: A Time Between Ashes and Roses. Aichi Arts Center. Curated by Hoor Al Qasimi. Nagoya, Japón, 2025.

Chronotopies. MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curated by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies. Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

That Fragile Balance. Bienalsur 2023. Brazilian Embassy in Argentina. Curated by María Cristina Rossi. Buenos Aires, Argentina, 2023.

Silvia Rivas, Video installation. Paseo de las Artes, Palacio Duhau, Park Hyatt. Buenos Aires, 2017

Momentum. Rolf Art. Curated by Valeria González. Buenos Aires, Argentina, 2015

Buzzing-Invisible Oddyssey Museo Municipal de Bellas Artes Juan B. Castagnino. Curated by Horacio Zabala. Buenos Aires, 2014

Entre tiempos… Presencias de la Colección Jozami en el Museo Lázaro Galdiano. Museo Lázaro Galdiano. Curated by Diana Wechsler. Madrid, España, 2014

Buzzing. Alon Foundation for the Arts. Curated by Horacio Zabala. Buenos Aires, Argentina, 2012

Naturally Artificial. Centro Cultural del Bicentenario. Curated by Graciela Taquini. Santiago del Estero, Argentina, 2012

Buzzing. Contemporary 26. Museum of Latin American Art of Buenos Aires (MALBA). Curated by Franklin Espath Pedroso. Buenos Aires, Argentina, 2010.

Acquisitions, Donations and Loans. Works from the MALBA-Costantini Foundation. Museum of Latin American Art of Buenos Aires (MALBA). Buenos Aires, Argentina, 2009.

 

Zumbido (Dinámicas), Trienal de Acihi 2025..

Press

Credits

  • Performer: Julia Edo
  • Technical collaboration: Juan Pablo Ferlat
  • Sound design: Luciano Azzigotti
]]> Layers https://silviarivas.com/en/layers/ Wed, 04 Oct 2023 19:30:40 +0000 https://silviarivas.com/?p=2759

Layers XI, of the series Layers, 2009.

About the series

In the construction of digital images, layers are added that, like masks or veils, rectify the base image or generate a coherent illusion. Here, while making use of languages and unlike points of view, that logic, though not broken, is at least altered. The opposites are accentuated. Petals, flies, moths become symbolic elements that fly over or emerge from superimposed possible settings; everything that possesses identity is diffused, diluting itself in the coexistence of alien realities.

Layers IX, of the series Layers, 2009. Detail.

Works

Layers VII

Intervened photography | Gliclée prin, tracing paper and pins. 45 x 80 cm. 2009

Detail.

Layers XIII

Intervened photography | Gliclée printing, tracing paper and pins. 60 x 116 cm. 2009

Detail.

Layers X

Intervened photography | Gliclée printing, tracing paper and pins. 60 x 158 cm. 2009

Layers XIV

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Layers XI

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Detail.

Detail.

Layers XII

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Detail.

Exhibitions

Silvia Rivas, Video installation. Paseo de las Artes. Duhau Palace. Park Hyatt Buenos Aires. Buenos Aires, Argentina, 2017

Momentum. Rolf Art. Curated by Valeria González. Buenos Aires, Argentina, 2015

Buzzing. Alon Foundation for the Arts. Curated by Horacio Zabala. Buenos Aires, Argentina, 2012

]]> Sobre lo inminente https://silviarivas.com/en/sobre-lo-inminente/ Tue, 03 Oct 2023 21:41:53 +0000 https://silviarivas.com/?p=2655

 

Imminent Harm, of the series About the Imminent, 2014.

Works

Imminent Harm

Video installation | Two channels. HD video. Stereo sound. Variable dimensions. 3′ 12′′ in loop. 2014

A dish of milk on a white linen tablecloth, the breeze barely moves the white curtain wehind which a luminous, vegetal outside world can be glimpsed.

 

The buzzing of a fly is foreseen as a threat in the quietness and purity of a still life scene. The imminence of this threat aims to define the moment prior to any event as a possible unit of time, a unit in which conventional measurement halts.

Video still.

About the Imminent I

Video installation | Single channel. HD video. Stereo sound. Variable dimensions. 1′ 58′′ in loop. 2014

Video still.

Delicacy

Object with video | Single video channel. 12" LCD screen, porcelain. HD video. Stereo sound. 7' 35" loop. 23 x 28 x 24 cm. 2017

Wealth

Object with video | Single video channel. 12" LCD screen, coin of the Argentine Republic. HD video. 7' 35" loop. 23 x 28 x 24 cm. 2017

Detail.

Abundance

Object with video | Single video channel. 12" LCD screen, porcelain, coins of the Argentine Republic. HD video. 7' 35" loop. 23 x 28 x 24 cm. 2017

Detail.

Conclusion

Video installation | Single channel. HD video. Stereo sound. Variable dimensions. 7′ 41′′ in loop. 2015

Exhibitions

Aichi Triennale 2025. Pop Up! Travelling exhibition. Aichi, Nagoya, Japan, 2025.

Silvia Rivas, Video installation. Paseo de las Artes. Duhau Palace. Park Hyatt Buenos Aires. Buenos Aires, Argentina, 2017

Touching Time. Casa de las Culturas – Villa Carmen. Tigre, Buenos Aires, Argentina, 2018

Ensayo General #7. Ensayo General. Curatorship: Olga Martínez. Buenos Aires, 2014

Press

  • En Rivas, lo banal dispara un abanico de significados. By Ana Martínez Quijano. Ámbito financiero, 2014.

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