On Saturday, October 24th at 18 hs, Fundación Proa inaugurated the exhibition Linderos curated by Ana Gallardo. “Lindero (boundary) is that which is at the limit,  that which is at the limit of the threshold. It is the passage point that defines the limits, be it of a surface, a space, or a concept. It is also a neighbour, a coexistence, and in between exterior and interior”,  is the description the curator gives of the title of the exhibition.

The works specially prepared for the exhibition “Lindero” are a narration of these themes throughout Proa’s building. Ana Gallardo convoked a group of artists that work with text, drawings, sounds, and instalations all dealing with boundaries in plastic form, between form and nature, landscape and building.

María Inés Drangosch intervenes in the space of the bookshop with her work “Recolectora de Paisajes”.  In these pieces, the artist represents cartographies, paths composed of words that give us a reference to move between text and text, from branch to branch. In the apparent image of the vines that take over the space, the details of three poems, by Charles Bukowski, Arthur Rimbaud, and Roberto Juarroz. The vine covers the area of Proa until reaching the individuals seated at the upstair’s cafeteria that portrays Drangosch’s berry tree. Related to landscapes, this piece photographically frames nature to underline the visual forms that determine its beauty.

The artist Daniel Joglar presents “La distancia entre las cosas”, a unique piece created with yarns and wooden wands. Materials of daily usage are used in abstract sculptural pieces that conform a hollow geometrical design. These sculptures with “no inside” play with the idea of  the limit between exterior and interior. Always interested in science and its relationship with art, Joglar seeks to illustrate the lines of force that operate in space in pieces that remind one of architecture and minimalism.

Fernanda Laguna exhibits the 80 books from her editorial “Belleza y Felicidad”, all hanging from a tree branch. With wood, paper, and ropes, she constructs a tree of books, an artistic and intellectual landscape that creates an intimate space in an institutional setting, an environment for reading and reflection to be shared with the public. The branch’s presence underlines the natural origins of the paper, vinculating creativity and nature, in addition to emphasizing the contrast with the nitid and modern space of the museum. Two photographic memoirs by “Belleza y Felicidad” accompany this exhibition.

The musician and artist Ismael Pinkler presents “Acapellas”, a sonoric intervention on the terrace with sounds that usually go unnoticed and are integrated into the environment like any other element. He also incorporates abstract sounds in an attempt to produce and auditive landscape, familiar and habitual to the spectator.

Mariela Scafati presents the piece “Marrón”, a mirrored wall at the Proa cafeteria. Along this surface she indicates details of the landscape, pointing them out with serigraphed frames or hand painting the boundary of the landscape, incorporating the exterior into the interior. The background of mirrors reflects the other side, the landscape and same interior that empowers the architectural form, duplicating the images.

Marcela Sinclair, with her piece Crecida” paints a black enameled landscape that can be seen along the visual limit established by the terrace wall. An interplay is generated between the positive and negative of the image. The landscape of Vuelta de Rocha is reintroduced but inverted, it is more like its reflection or shadow. The black water, shiny with oil, contaminated and dirty from the Riachuelo, grows and trespasses the limit of this new architecture. But without the smell or dirtiness, only the shinyness is left. It is a matter of perspectives: to the neighbourhood’s horizontal line, Proa’s architecture adds it’s own.

Also forming part of this exhibition is “Video a la carta”, a video-art program that will be available to the public at the foundation’s cafeteria. The video menu offers the clients a list of video projects by artists Ailin Chen, Estanislao Florido, Laura Glusman, Alejandra Urresti, Marcelo Galindo and Marisa Rubio.

In this way, Fundación Proa continues its interventions program that show for the aspects of contemporary art. The program consists of inviting artists and curators to intervene with site-specific projects, produced specifically for the institution’s spaces. The intention is to erase the limits of the museum, generating a dialogue between architecture/art as well as exterior/interior in the big city.

The exhibition is sponsored by Ternium.