Agustina Muñoz’s field of expertise is in film, drama and performance. She has written and directed Las mujeres entre los hielos, El calor del cuerpo and Neón, as well as performances Toda esta gente, staged at Centro Cultural Rojas; Él lo sabe; o quizás tampoco lo sepa, a collaborative project alongside Florencia Rodríguez Giles conducted at Instituto DiTella; Para el pueblo lo que es del pueblo: cláusula reservada, in collaboration with Mariana Obersztern, at Galería Foster Catena; and Preparación, at Das Amsterdam. She has also codirected Teatro Martín Fierro with Eduardo Stupía at Centro de Experimentación del Teatro Colón. She was awarded a scholarship at Das Amsterdam that enabled her to take a Master’s Degree in Drama between 2015 and 2017. She was the curator and director of Piezas para audiencia, a cycle of performances by Yoko Ono held at MALBA. Agustina’s works have been shown in Cuba, Chile, Spain, Switzerland, the Netherlands and Ireland. She has garnered the First Prize for Innovative Playwriting at Madrid’s Contemporary Scene Theater Festival, the First National Prize for Playwriting of Instituto del Teatro, the GAI Prize (an award granted to young Italian artists), and the Prize for Best Actress at BAFICI 2014.
Bárbara Hang is a dancer and choreographer. Si has gained scholarships at Fondo Metropolitano de Artes y Ciencias, Fondo Nacional de las Artes, TheaterFormen, Germany, danceWeb, Austria, UNESCO and Centro de Investigaciones Artísticas (CIA). Bárbara is a keen explorer of different media such as installation, video and performance. In 2010 she partnered with Ana Laura Lozza to found Buenos Aires and Berlin-based music label Acá no hay delivery, which they used to create the following works: Eso que es la cosa, Untitled (4 artificios), 4 artificios, The Vanishing Meeting and Arcadia. Bárbara’s works have been shown in Argentina, Germany, the Netherlands and Austria. She collaborates on an ongoing basis with projects involving several disciplines such as visual arts, film and theater. She is currently developing projects alongside Diana Szeinblum, Florencia Rodríguez Giles and Agustina Muñoz.
“Should I run out of words, I would first try to dance. Then I would invent new words, but no one would understand them; I guess I would start to steal other people’s words, and I would end up imitating the birds in the sky.” Yoru No Hara
There is a room filled with piles and piles of books: these are “books of ideas” written by authors ranging from the ancient Roman Pliny to philosophers like Bakunin, and individuals such as Lucio Mansilla, Lynn Margulis and Lao-Tze. Some of the books in the collection are Virginia Woolf’s A Room of One’s Own, Fukuyama’s The End of History, and Alexander Von Humboldt’s Views of Nature, among many others.
Loose phrases deprived of context and placed next to one another serve to build an anachronistic collective discourse. This is a relationship between ideas that creates a strange form of appropriation and profanation, an unexpected synchronic connection between individuals, ideas, and books.