Its offices are a haven for organizing and promoting activities that are seldom shown in traditional channels for reasons such as sexual orientation, gender, color, ethnic origin, age, religion, language, and political affiliations. Live music events, poetry readings, art exhibitions, book launches, round tables, discussions, film and video screenings, theater and dance shows, works by performance artists, festivals and fairs are some of the activities held at Casa Brandon. In 2011 Brandon was declared by the Buenos Aires City Council as endowed with social and cultural value, and as an institution that promotes and defends human rights.

www.brandon.org.ar

In 1994, she majored in Philosophy and Compared Literature from the University of Ljubljana. In 2002, she obtained her PhD in Philosophy with a thesis entitled ‘’Philosophy, aesthetics and art, between the organic and the technological, the aesthetics of the body and the art of post-modernism’’.

She is a Tenured Professor at the Institute of Applied Theater Studies/ATW-Institut für Angewandte Theaterwissenschaft, University Justus-Liebig at Giessen, where she runs the International Choreography and Performance Masters Program.

She gives lectures, seminars and laboratories in different academic institutions and European artistic organizations.

She is a member of the editorial committee at Maska Magazine, Amfiteater and Performance Research.

Some of her publications include Impossible Body (1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (2004), Processes of Work and Collaboration in Contemporary Performance (2006), Performance and Labour (2012, ed. with Gabriele Klein), Umetnik na delu (Maska 2012), and Artist At Work-Proximity of Art and Capitalism (2015).

Coproduction: Goethe Institut and UNA (Departamento de Artes del Movimiento) with the support of Centro Cultural Recoleta and El Cultural San Martín

Professor of Aesthetics and Theory of the Arts (UZ, Spain), co-director of the Master’s Program in Scenic Practice and Visual Culture (UCLM, Reina Sofía Musuem), researcher at ARTEA and visiting professor in university art programs in different countries of Europe and Latin America.

Over recent years, she has developed an intense activity as a commissioner, specifically through research initiatives such as Investigación artística y aventura (Centro de Arte Contemporáneo Huarte, 2018), Documentar el olvido (2018, Filmoteca de Zaragoza), international seminars such as Podría quien te recuerda (Reina Sofía Museum, 2017), Cuerpos, Desórdenes y Democracias (Matadero Madrid 2016), or the Ser Público festival (La Casa Encendida (2016).

She published the books Danza contemporánea, espacio público y arquitectura (2008), Práctica e Investigación (2010, with José A. Sánchez), 10 textos en cadena y unas páginas en blanco (2012, with Cuqui Jerez), Componer el plural. Cuerpo, escena, política (2016, with Diego Agulló) and Dirty Room (2017, with Juan Domínguez)

Coproducción: Centro Cultural de España en Buenos Aires y UNA (Departamento de Artes del Movimiento) con el apoyo del Centro Cultural Recoleta y El Cultural San Martín.

Director, stage designer, lighting technician and costume designer. In 1981, he created the company Societas Raffaello Sanzio, earning international recognition for the radical aesthetics and profound humanity of its creations.

His pieces are regularly showcased and produced by the most renowned theaters, opera houses and international festivals.

He has received numerous awards and distinctions including: Chevalier de l’ordre des Arts et des Lettres, granted by the Ministry of Culture of France (2002), director of the theater section at the Venice Biennale (2005), “Associated artist” at the 62nd Festival D’Avignon (2008) and the Golden Lion awarded by the Venice Biennale (2013).

Castellucci is recognized worldwide for creating plays based on the arts as a whole, aimed at achieving a comprehensive perception. His dramaturgy becomes a ductile and complex artistic form, made up of extraordinarily rich images expressed through music, sculpture, painting or architecture.

©Guido Mencari

Coproduction: Teatro Coliseo – Italia XXI and BP.19

One of the most prolific composers and sound artists of Argentina, Conti has extensively collaborated in interdisciplinary projects in the fields of filmmaking, visual and performing arts.

In 2008 he participated in the Performing Americas´s Project artistic residency.

In 2009, 2010, 2013 and 2015 he was invited to work with Lola Arias at Kammerspiele Munich, HAU Berlin and Theater Bremen, respectively.

He has also been showcased in the most prestigious museums, galleries and festivals of America, Europe and Asia.

His most renowned pieces are: Los animales perdidos (2008), Pequeños conciertos para un espectador (2011), the conference El piano invisible (2013) and Caminar y escuchar (2015).

The publishing house Mansalva published his first book En Auckland ya es mañana (2011), and also La cinta transportadora (2015) and Copacabana Palace (2019).

He has also released more than ten music albums. The Japanese label Flau Records released his orchestral pieces Los efímeros (2018), Los Griegos creían que las estrellas eran pequeños agujeros por donde los dioses escuchaban a los hombres (2014), Atlas 2003 – 2013 (2013), presenting this last piece in different cities of Japan together with seminars, lectures and concerts.

For more than ten years he has run the record label Metamúsica, through which he not only publishes his albums but also produces the works of other composers.

Production: BP.19

Dahn explores the relationship between sculpture and performance. Her process takes time, patience and a profound connection, and usually triggers a struggle between coercive forces that act on the space, the matter and the body.

She graduated with a Masters in Social Communication. She also studied Visual Arts at the Universidad de Buenos Aires and at the workshops of prestigious artists such as Miguel Harte, Emiliano Miliyo and Marina de Caro.

Between 2009 and 2010, she organized the program for artists at the Universidad Di Tella, with the tutorship of Jorge Macchi. In 2010, she obtained the first prize in the Curriculum 0 competition of the Galería Ruth Benzacar. In 2011, she obtained a scholarship from the MNSEN Foundation and attended a postgraduate program in the sculpture department of the Royal College of Arts, London.

Her solo exhibits include: Cámara (Móvil, 2017), Rompimiento (Galería del infinito, 2014), Heterotopour (Galería Mite, 2012), Dócil (Galería Ruth Benzacar, 2010). Her collective exhibits are: Epsilon (MACBA, 2016), Seduction of a Cyborg (Barro Galería, 2016), Romántico (Fundación Proa, 2014), Calle e Rua (AGentil Carioca Art Gallery, Rio de Janeiro, 2011).

Coproduction: MARIACASADO – Home Gallery and BP.19

He holds a masters degree in Visual Arts (UNA) and graduated from the Escuela Nacional de Bellas Artes y Dramaturgia (EAD).

He made two documentary films entitled Cuerpo de letra (2015) and Hacerme feriante (2010), for which he obtained the Premio Sur for Best Documentary (Argentine Academy of Cinema) and the FIDOCS Special Award from the Jury (Chile).

His audiovisual pieces include Condominio, Suite Matanzas and Autosocorro.

He created many site-specific pieces including the videoinstallations Dirección de paseos (at the Buenos Aires botanical gardens), La plaza en el pulmón de manzana, (at the former Casanto factory) and the installation Antrópolis, (in Tecnópolis).

He obtained the Lucio Fontana Visual Arts award, a residency at the Cité Internationale des Arts in Paris, the ‘’Elena Poggi’’ award from the Argentine Association of Art Critics and the Ricardo Rojas Awards for Best Essay for his book La desplaza, biogeografía del Parque Rivadavia.

His pieces have been exhibited in different venues and cities of the world, including Pastificio Cerere (Roma), Onomatopee (Eindhoven), Kunstraum Kreuzberg/Bethanien (Berlin), Maison Rouge (Paris), Kunstverein (Wolfsburg), UCSD Art Gallery (San Diego), Ig Bildende Kunst (Vienna), 98 weeks (Beirut), CCCB (Barcelona), Museo de Antioquia (Medellin), 1a Bienal del Fin del Mundo (Ushuaia) and MALBA (Buenos Aires).

Production: BP.19

Pianist, actor, director and playwright. General Director of Compañía Buenos Aires Escénica and founder of Teatro Defensores de Bravard.

Since 2013, he has developed Proyecto Pruebas, focused on the research and analysis of perception, representation models, scenic procedures and language. The project includes the following pieces: El espectador (Prueba 1), La desintegración (Prueba 2), Las convenciones (Prueba 3), El tiempo (Prueba 4), El ritmo (Prueba 5) and El hipervínculo (Prueba 7).

He has written and directed many plays, including Reflejos, Breve Relato Dominical, Hacia donde caen las cosas, Rapsodia para príncipe de la locura and Pasolini.

He has received numerous awards, special mentions and grants, including the Dramaturgy National Award, Teatro s.XXI, Teatro del Mundo, Germán Rozenmacher Dramaturgy Award, Fundación Antorchas Grant, Fundación Carolina Grant, Konex-Argentores, and Iberescena Grant.

His works and plays have been published by different publishing houses including Colihue, del Rojas, INT and Excursiones. He teaches at the Universidad Nacional de las Artes (UNA) and also gives lectures, master classes and courses in Latin America and Europe.

Coproduction: Secretaría de Cultura – Vicente López and BP.19

A multi-faceted artist, De Colombi has explored writing, cinema, performance, theater and photography.

He has published the books Lugares que no (Huesos de Jibia, 2010), No recuerdo (Pánico el Pánico, 2011) and Leídos (Biblioteca Nacional, 2014). Furthermore, his poems accompany David Sisso’s photographs in Tierra Vacía (Planeta, 2017).

He acted in two films by Brazilian filmmaker Charly Braun, which received awards in international festivals: Além da Estrada (2010) and Vermelho Russo (2017).

Together with Catalan artist Marc Caellas he founded La Compañía de La Soledad, dedicated to different stage and performance proposals, including El paseo de Robert Walser, Entrevistas breves con escritores repulsivos, Cielo TV, Come en casa Borges and Juego de cartas.

Together with American artist Erin Honeycutt, he presented an interdisciplinary performance entitled All the Things (Tangier) in Reykjavik and created Tusitala with artist Kalil Llamazares.

Production: BP.19

This iconoclastic collective carries out performance actions and was founded in 2015 by artists Emilio García Wehbi and Maricel Álvarez, with the collaboration of composer Marcelo Martínez and stage designer Julieta Potenze.

Their performances include Trilogía de la Columna Durruti: Herodes Reloaded (2015), La Chinoise (2016) and En la caverna de Platón / La cabeza de Medusa (2017), which are a formal and conceptual criticism of the idea of family and its link to capitalism and religion. They were produced and presented at the Fundación OSDE Art Space in Buenos Aires.

In November 2016, Emilio García Wehbi and Maricel Álvarez created a new version of Herodes reloaded as part of their art residency at the Museo Universitario del Chopo in CDMX, Mexico. Likewise, in October 2017 they presented the Trilogía de la Columna Durruti at the UNSAM Art Space, within the special programming section of the Buenos Aires International Festival.

In 2018, they participated in the opening day of the Teatro Nacional Cervantes theater season, with a performance-based reading of Scorpion and Felix, the only comedic novel written by Karl Marx at the age of 19.

With the support of Fondo Metropolitano de la Cultura, las Artes y las Ciencias del Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires; and Proyecto I+D “Desarrollos Tecnológicos Digitales Aplicados al Arte” de la Universidad Nacional de Quilmes

Dancer, choreographer and performer. Her practice includes video, drawing, music, choreography, and performance.

She received her dance education at the Schweizerische Ballettberufschule (ZHDK TanzAkademie) in Zurich and at the Rambert School of Ballet and Contemporary Dance in London.

She has collaborated with François Chaignaud, with whom she created Duchesses (2009), electronic musicians Clive Jenkins, Cristian Vogel, and visual artists Kim Boninsegni, David Hominal and Delphine Coindet.

She has developed miniature one-to-one performances such as Hôtel Oloffson (2013) and Le Triomphe de la Renommée (2013), Ballet Solo (2018). Her full length performances include Ballet (2014), Patricia Poses by the Pop Machine (2011) and Silver (2013). Following her research on the notion of authorship, Hominal invited Markus Öhrn for the piece Hominal/Öhrn (2018).

As a dancer she has worked with the Tanztheater Basel, Irène Tassembedo, Blanca Li, Gisèle Vienne, Gilles Jobin, La Ribot and Marco Berrettini. She was a guest performer for Human Writes, the performance installation by William Forsythe.

Since 2008, Hominal has been showing her work, in both theaters and galleries in all Europe, USA, South America, Thailand and China

Coproducción: Centro Cultural Recoleta y BP.19 con el apoyo de Pro Helvetia (as part of Coincidencia, Swiss & South American Cultural Exchanges) y la Embajada Suiza en Argentina

At school, I drew the best pictures and scored the most goals. I never studied, except for Geography which fascinated me; during all other classes, I drew dashboards, audio systems and football stadiums.

When I finished high school, I worked at my father’s business selling home appliances, but when I turned 25 I could no longer stand it and started drawing. The highlights of my career are: 3 solo exhibits at Galería Ruth Benzacar (2007, 2010, 2014); 3 books published by Editorial Mansalva (2012, 2014, 2017); a mural for Fundación PROA (2005); 17 pieces in the series lusismo, for the exhibit Superyo at MALBA (2004); a solo exhibit at Galería Braga Menendez-Schuster (2001); an exhibit-installation and the publication of the book ”Estado de Boarding Pass” at Espacio Duplus (2000).

I live and work in the city of Buenos Aires.

Guillermo Iuso

Lolo y Lauti (Buenos Aires – Argentina, 1980 and 1986 respectively)

Artistic duo created in 2011, dedicated to performance, video and opera. Their works focus on research, appropriation, adaptation and daily behavior, and are based on collaboration, finding in others the answers they would not find alone.

Their work has been showcased in museums, festivals and galleries in the United States, Germany, Spain, Italy, the UK, Austria, Greece, Belgium, Mexico, Colombia, Chile, Uruguay and Panama. Highlights of their career include directing the opera Perfect Lives (Teatro Colón, 2016), Carmen (MAC, Panamá, 2018) and Laguna Matata (UV, 2018).

Coproduction: Ruth Benzacar – Galería de Arte and BP.19

Photographer and visual artist.

Her portraits of musicians are her distinctive feature. Her photographs appeared on the cover of many rock albums and other genres as well.

In theater, she directed Relámpagos de lo invisible and Tapiz Pizarnik. She also designed the lights for Asco and La vida terrenal -both by Lisandro Rodríguez-, and the videos and photography for Yo te vi caer by Maricel Álvarez. For 58 indicios sobre el cuerpo, performance by Emilio García Wehbi, she developed a photographic documentation throughout 2014. The result was the book Communitas (Planeta).

She directed music videos, including Parte por Parte by Iván Noble, La vuelta entera by Francisco Bochatón, A lo mejor by Acorazado Potemkin and Sin pensar fui a la orilla by Rocco Posca.

In 2012, she edited her first textbook, entitled Sin sueño se duerme también.

She has presented her work in different collective and solo exhibits in different venues of Argentina and abroad.

FAN, a retrospective that covers her years in music, opened in 2015 and can still be visited at the Sala Cronopios of the Centro Cultural Recoleta. It was displayed in different venues including Biblioteca del Congreso, MACRO Rosario, Museo MAR, Museo P. Boggio (Chivilcoy), Casa de la Cultura (Entre Ríos), and at the Sala de Arte Saraco (Neuquén).

Since 1996, she has illustrated the RADAR supplement of Página/12 newspaper and her photographs have been included in the calendars of Fundación Viva la Vida for animal wellbeing since 2015.

Production: BP.19

Martel has directed many feature films including La Ciénaga (2001), La niña santa (2004) and La mujer sin cabeza (2008). Her most recent film, Zama (2017) obtained more than 60 international awards and was critically acclaimed globally as one of the best films of 2018. It was also nominated for Best Ibero-American Film at the Goya and Platino Awards and is the Argentine candidate for the Academy Awards. Many retrospectives of her career have been held in different cities like Berlin, Cannes, Venice, Sundance and Havana.

She has taught workshops in many distinguished universities such as Cambridge, Princeton, Harvard, Yale, Doha Film Institute, Calarts, UCLA, London School of Sound and San Antonio de los Baños.

Alejandro Ros (Tucumán – Argentina, 1964)

He graduated as a Graphic Designer from the Universidad de Buenos Aires.

He has designed for Página/12 (Radar, Las/12, Soy, Página/30), Goethe-Institut, Malba, Morocco (night club), Soda Stereo, Daniel Melero, Juana Molina, Fito Páez, Juan Alberto Spinetta, Babasónicos, Illya Kuryaki, Gustavo Cerati, Leo García, Divididos, Liliana Herrero, Bersuit, Auténticos Decadentes, Los Fabulosos Cadillacs, Jaime Roos, Vicentico, Tan Biónica, Sandra Mihanovich, Pedro Aznar, Bajo Fondo Tango Club, Julieta Venegas, Juanse, Miranda!, Mercedes Sosa, among others.

He was also the designer of books by Nicola Costantino, Maitena, Cambre, Roberto Jacoby and Mondongo.

He has received numerous awards and distinctions, including the Konex de Platino for Graphic Design (2002), seven Gardel awards and three Grammys for his album cover designs.

Coproduction: Parque de la Memoria. Monumento a las Víctimas del Terrorismo de Estado and BP.19

Their work questions contemporary life, and focuses on revisiting assumptions that govern social behavior, shaping our way of thinking and doing things. In this way, they develop strategies that analyze the power of artistic practices to intervene reality and generate political imagination as they are developed. Their projects take different shapes, including conferences, performances, field trips, debates, theater plays, exhibits and installations. They created Nostalgia de una Ciencia Ficción Futura (2014), Reported Speech (2015), Proyecto Monumental (2017), Darwin secuestra a tres fueguinos y les enseña inglés (2017) and Línea Histórica (2018).

These works have been showcased in different venues in Argentina and abroad, including the International Dramaturgy Festival (2018), De Singel (Antwerp 2014), Venice Biennale (2015), NAVE (Santiago de Chile, 2017), Casa del Bicentenario (Bienal Sur 2017) and the Centro Cultural San Martín.

With the support of Fondo Metropolitano de la Cultura, las Artes y las Ciencias

Author and theater director, Obersztern has developed intense work in the field of visual arts. She studied at the Escuela de Danza-Teatro of UBA and completed the Art History Program of UBA.

Her pieces include Kandinsky, Dens in dente (Proyecto Museos), Lengua madre sobre fondo blanco, El aire alrededor (Ciclo Biodrama), Espina no peito (Ciclo Performance Revolución), Si el destino viene a mí, Inspiratio, Kantor. Wielopole, Mezrich, Wielopole (Ciclo Invocaciones), Oberek, un bemol mayor (CTBA) and the performances Pensamiento, cantidad necesaria (UBA), Remontando el Nidrog (MAMBA), La cabeza es un escenario (PROA. Direccionario), El gran ensayo (MNBA. Bienal de performance), La voz absoluta (Art Basel Cities), Una conversación Francesa, together with Agustina Muñoz (MALBA. Filba), Dramaturgia para una conferencia. Mario Bersztern (FIBA) These works have been showcased at festivals such as FIBA, Experimenta Teatro, Mercosur and Theater Der Welt.

She has received numerous awards and nominations, including the Trinidad Guevara, Florencio Sánchez, Clarín and Teatro del Mundo.

In 2006 and 2007 she was chosen to organize the theater programming of the CCRojas, where she developed the series Inversión de la carga de la prueba. As a curator, she also developed Una teoría sobre el espacio (Prisma KH) and En el nombre del nombre. Cinco obras (CCK).

Her plays and essays have been published by Teatro Vivo, Libretto and Excursiones.

Coproduction: Proteatro y BP.19

She studied acting with Alejandro Catalán, Ricardo Bartís y Pompeyo Audivert, and graduated as a playwright from the Escuela Municipal de Arte Dramático (EMAD).

She wrote and directed Si te sigo, muero based on texts by Héctor Viel Temperley (2005), Algo de ruido hace (2007), El tiempo todo entero (2010), The Glass Menagerie by Tennessee Williams (2013), Fauna (2013) and Cimarrón (2016). Her works have been showcased in Buenos Aires and many festivals and theaters around the world.

Editorial Entropía published her plays Fauna, El tiempo todo entero and Algo de ruido hace and her novels ¿Vos me querés a mí?, Agosto and Acá todavía.

De nuevo otra vez, her first film as a writer and director, will premiere at the Rotterdam Film Festival in January 2019.

Coproduction: Centro Cultural Recoleta and BP.19

She graduated as a National Art Professor from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. She studied sculpture with Nicola Costantino and also participated in Diana Aisenberg’s art clinic and the Kuitca Scholarship/Universidad Torcuato di Tella. She obtained numerous grants from the Fondo Nacional de las Artes, Fundación Antorchas, Centre National d’Art Plastique and obtained the Braque Muntref first prize.

Since 2002, she has created exhibits and installations, including Biodelica (Galería Ruth Benzacar, 2018), EsquizoPicnic (Reina Sofía Museum, 2018),  Séance Liminoïde (Palais de Tokyo, 2016), Strabisme Interne (Galerie d’Art Contemporain Bendana-Pinel, 2016);  Interzone (Arcus Studio, Ibaraki, Japan, 2014).

She also participated in the following residencies: Le Magasin (Grenoble, France, 2017); FRAC Lorraine (Fonds Régional d’Art Contemporain. 2016);  Plataforma Internacional para la Creación en Teatro Musical (Goethe Institut, Buenos Aires, 2015); Cité Internationale des Arts (Paris, France. 2015); Paradise Air (Matsudo, Japan. 2015); Arcus Studio (Ibaraki, Japan. 2014); Backers / Art Initiative (Tokyo, Japan, 2009).

Emilio Bianchic (Montevideo – Uruguay, 1990)

Bianchic works with video, performance and false nails. His work examines the generation of identities and their production and incompetence in the real and virtual worlds.

His most relevant exhibits include Oh la la, (Postmasters Gallery, New York 2018) FNORNRNO (Miami, Bogota, 2017), Serpentine Gallery Marathon (Serpentine Gallery, London, 2013).

He is part of the Básica TV collective.

Coproduction: El Cultural San Martín and BP.19

A multidisciplinary artist, Lisandro Rodríguez created his own studio for research and scenic productions in 2004 called Elefante Club de Teatro, a platform from which he developed and produced most of his work.

He coordinates workshops focused on direction, mise-en-scène, acting and writing for actors.

His most recent creations include Dios (Centro Cultural Recoleta), Acá no hay fantasmas (Teatro Nacional Cervantes), Fassbinder, todo es demasiado (Cultural San Martín) and Abnegación 3 (Estudio Los Vidrios).

He directed and acted in more than 30 plays, including Duros, Hamlet está muerto sin fuerza de gravedad, La mujer puerca, El arte de vivir, Un trabajo, Relato íntimo de un hombre nuevo, Pudor en animales de invierno, Asco, Felicidad Doméstica, La enamorada del muro and La vida terrenal.

His film career includes the main role in Santiago Loza’s La Paz, which premiered at the 63^rd Berlinal and for which he received the award for Best Actor at the 22^nd Biarritz Festival. He wrote, co-produced and starred in Mar de Dominga Sotomayor, presented at BAFICI and at the 65^th Berlinale.

In 2018, he concluded his work with the Elefante Club de Teatro and founded a new space for scenic/experimental work, called Estudio Los Vidrios.

With the support of  Fondo Metropolitano de la Cultura, las Artes y las Ciencias del Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires and BP.19

Journalist, critic and researcher of popular culture, Schanton is also a sound/smell artist, lyricist and composer.

During the 80s, he studied Literature at the Universidad de Buenos Aires.

Between 1990 and 2009, he organized annual lectures and events on German music at the Goethe Institut in Buenos Aires. He was also one of the main promoters of translating the books by British critic Simon Reynolds into Spanish.

He works as an editor for Clarín newspaper and co-edits the music section of the Otra Parte Semanal site.

In 1998 he joined Agencia de Viajes, a collective of musicians and DJs, which creates pieces that evoke night clubs and performance. In 2017, with Alejandro Ros, he developed the sound-smell installation ”Perfumancia” for the Arco fair in Spain.

Alejandro Ros (Tucumán – Argentina, 1964)

He graduated as a Graphic Designer from the Universidad de Buenos Aires.

He has designed for Página/12 (Radar, Las/12, Soy, Página/30), Goethe-Institut, Malba, Morocco (night club), Soda Stereo, Daniel Melero, Juana Molina, Fito Páez, Juan Alberto Spinetta, Babasónicos, Illya Kuryaki, Gustavo Cerati, Leo García, Divididos, Liliana Herrero, Bersuit, Auténticos Decadentes, Los Fabulosos Cadillacs, Jaime Roos, Vicentico, Tan Biónica, Sandra Mihanovich, Pedro Aznar, Bajo Fondo Tango Club, Julieta Venegas, Juanse, Miranda!, Mercedes Sosa, among others.

He was also the designer of books by Nicola Costantino, Maitena, Cambre, Roberto Jacoby and Mondongo.

He has received numerous awards and distinctions, including the Konex de Platino for Graphic Design (2002), seven Gardel awards and three Grammys for his album cover designs.

Production: BP.19

Artist, choreographer and stage designer.

After finishing her studies in philosophy and music, she attended the school of puppeteers at the École Supérieure Nationale des Arts de la Marionnette. She has ever since worked regularly with writer Dennis Cooper, musicians Peter Rehberg and Stephen O’Malley and lighting technician Patrick Riou.

Founded in 1999, the company named after her showcases a repertoire of 15 pieces. The first ones, created in collaboration with Etienne Bideau-Rey include Splendid (2000), Showroomdummies (2001), Stéréotypie (2003) and Tranen Veinzen (2004).

Some of her most famous pieces, presented in different cities of the world, are I Apologize (2004), Kindertotenlieder (2007), Jerk, un radiodrame (2007), This is how you will disappear (2010), LAST SPRING: A Prequel (2011), The Pyre (2013), The Ventriloquists Convention (2015), created in collaboration with the puppet theater Puppentheater Halle, and Crowd (2017).

Vienne has exhibited her photographs and installations regularly since 2005. In 2011, she published Jerk / Through Their Tears (in collaboration with Dennis Cooper, Peter Rehberg and Jonathan Capdevielle) and 40 portraits.

Coproduction: MNBA (Museo Nacional de Bellas Artes de Buenos Aires), Institut Français d’ Argentine – Embajada de Francia and BP.19

A multi-disciplinary artist, his works and projects include performances, events, installations, sculptures and videos.

His pieces explore possibilities of creating conceptual and sensitive resistance fields, in the face of a stereotype-based control of subjectivity. Parties, modern rituals, gender theories, sweat, esoteric philosophies and a friendship with nature are the living and thinking material reflected in his projects.

His most recent works have been displayed at MALBA (Museum of Latin American Art of Buenos Aires), Museo Precolombino Casa del Alabado (Quito), Museo de Arte Moderno de Buenos Aires, Museo Amparo (Puebla), Gasworks, (Londres), Tabakalera (San Sebastián), Galería Nora Fisch (Buenos Aires), Gwangju Biennial (South Korea) and Nottingham Contemporary (Great Britain).

With the support of Fondo Metropolitano de la Cultura, las Artes y las Ciencias del Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires.

Based in Seoul, they have written their signature animated texts set to their own music in 26 languages and shown many of them at some of the major art institutions in the world, including Tate Gallery (London), Centre Pompidou (Paris), Whitney Museum and New Museum (New York).

They were showcased at the Venice and São Paulo Biennials, and won the Webby Award for best artistic website. The artists also received a grant from the Foundation for Contemporary Arts, and were fellows in the category of creative arts of the Bellagio Center, part of the Rockefeller Foundation.

The M+ museum, in Hong Kong, has acquired YHCHANG.COM/AP2: The Complete Works, which includes several pieces by the duo.

BP.19 with the support of Centro Cultural Coreano

Coproduction: El Gran Vidrio and BP.19 with the support of Pro Helvetia (as part of Coincidencia, Swiss & South American Cultural Exchanges) and Embajada Suiza en Argentina

Con el apoyo del Centro Cultural de España en Buenos Aires

Con el apoyo de Atocha galería

Coproduction: Revista Anfibia, Casa Sofía, UNSAM, Proa21, Bomba Cine.

The space also allows creators to meet and engage in dialogue and promotes conversations between artists and their audience.

C complejo art_media has become a territory for freedom of thought that welcomes both must-see, consolidated artists and emerging new talents.

Organizing different events about Korean culture, history and art, the Center seeks to promote exchange between Korea and Argentina through high-quality content.

http://argentina.korean-culture.org/es/welcome

At present, and together with the Cultural Department of the Spanish Embassy, it supports and generates projects that promote culture as a tool for reaching wellbeing and social dignity, democratic governance and the defense of human rights, gender equality, environmental sustainability and respect for biodiversity.

Its programming includes educational activities, exhibits, concerts, audiovisual screenings, performances, public debates and publications.

www.cceba.org.ar

This stimulating space allows visitors to experience the visual arts, music, dance, theater, literature, cinema, urban culture and design.

www.centroculturalrecoleta.org

With an avant-garde, innovative approach, it is a hub for emerging communities, combining art, technology and contemporary debates.

www.elculturalsanmartin.org

From then on, the reiteration of the spectacle (and the spectacle of reiteration) coexist with different forms of intromission of that first performance impulse, due to either the deliberate decision of some creators, pressure of the material conditions or even the timely intervention of the accident.

Cine y Performance invites the audience to revisit a historical selection of feature films which, in line with the BP 2019 programming and accompanied by lectures given by different specialists and envisioned specifically for each screening, allow us to analyze this tension and its implications for performance practices of today.

Its annual programming includes exhibits, art fairs, conferences and other activities related with the artists they represent.

www.artsy.net/el-gran-vidrio

www.eda.admin.ch/buenosaires

www.fundacioncazadores.org.ar

Proa and Proa21 carry out numerous actions and activities that encompass the beginning of the 20th century up to more current artistic expressions.

New technologies are part of the resources they use to disseminate educational programs, independent publishers and conversations, which can be seen on ProaTv and ProaRadio.

www.proa.org
www.espacioproa21.wordpress.com

For six decades, it has played a central role in cultural and educational policies abroad.

With a network of institutes, cultural associations, reading rooms, exam centers and German language education, it supports the dissemination of the German language abroad and promotes cultural collaboration at an international level.

www.goethe.de/ins/ar/es/sta/bue.html

Headed by the French Ambassador to Argentina, and in close collaboration with all of the Embassy services, its main mission is to promote French culture in Argentina though an open exchange and dialogue with local partners.

The Institute acts as an instrument of cooperation and influence, as well as a hub for expertise and assistance. Its Director is also Cooperation and Cultural Actions Counselor of the French Embassy.

www.ifargentine.com.ar

More than a venue for exhibits, Maria Casado appears as a flexible, different alternative for the more conventional spaces, promoting new ideas developed by up-and-coming and well-established artists alike.

www.mariacasado.com.ar

www.malba.org.ar

www.bellasartes.gob.ar

www.parquedelamemoria.org.ar

prohelvetia.ch

www.buenosaires.gob.ar/cultura/impulsocultural/proteatro

Casa Sofía is a cultural center that promotes artistic and educational activities. It was conceived as a space for creation, support and development of cultural projects, supporting experimentation, new ideas and collective creation.

www.revistaanfibia.com

www.ruthbenzacar.com

www.vicentelopez.gov.ar
www.facebook.com/VicenteLopezCultura
www.instagram.com/vicentelopezcultura

The Teatro Coliseo, through Italia XXI, will be presenting the performance ETHICA at the BP.19.

www.teatrocoliseo.org.ar/
https://iicbuenosaires.esteri.it/iic_buenosaires/it/

For the BP.19, the School of Philosophy and Letters of the University will offer seminars and workshops given by prestigious professors, researchers and artists.

www.uba.ar

The Department of Movement Arts explores, both in its undergraduate and graduate programs, the connections between dance and other languages, and the limits of its definition with respect to the other arts.

www.una.edu.ar

Curatorship
Maricel Alvarez

Consultants
Nora Hochbaum
Francesca Spinazzi

Curatorship of the ‘Cinema & Performance’ Program
Hugo Salas

Curatorship of BP.19 Córdoba
Catalina Urtubey

Academic Director
Susana Tambutti

Academic Production
Nicolás Licera

Artistic Coordination
Martín Grosman

Production Coordination
Florencia Wasser

Technical Coordination
Gonzalo Córdoba Estévez

Translations and Interpretations
Casabest Communications

Artistic Production
Luciana Grosman
Madelaine Onis

Executive Production
Melisa Santoro
Lucila Piffer

Production Team
Tamara Belenky
Julieta Corti
Melina Cruz
Manuela De Miguel
Marcia Rivas
Franco Zuccotti

Social Media
Martin Antuña

Image Design
Bruno Fernández

Graphic Design
Leandro Ibarra

Administration of Web Contents
Victoria Willenpart

Web Programming
Indiano Bros

Audiovisual production
Laura Palermo

Photography
Marino Balbuena

Head of Press
Mercedes Urquiza

Press Team
Melina Ruiz Natali