Espacio Vital
Buenos Aires, 2022 - 2024
In collaboration with Supermayorista Vital in Buenos Aires, Beatriz Bardin has pioneered the creation of an acquisition programme for emerging artists, an infrastructure designed to create and sustain a collection of emerging contemporary art through an annual open call in select educational spaces throughout Argentina.
The inaugural participating institutions were Programa de Artistas de la Universidad Torcuato Di Tella, Programa de Artistas por Artistas, Taller Compartido. The jury included artists Adriana Bustos and Carlos Herrera, as well as Directors Orly Benzacar and Nahuel Ortíz Vidal of galleries Ruth Benzacar and Barro, respectively.
By participating in the programme, emerging artists are given the opportunity to submit their work for review to the panel, carefully chosen to reflect different interests and sensibilities within the Argentine art-ecosystem.
The Espacio Vital collection will be launched to the public in March 2024.
![Beccar Varela, Gonzalo. sinombre 0004, 2023. madera de alamo, cavnas, porcelana fría. 190 x 100 x 90 cm](https://freight.cargo.site/t/original/i/1a3e3cb14ea20a23becfa6da9c23442ae041ca76759299de144c008752f6c637/Beccar-Varela--Gonzalo.-sinombre-0004--2023.-madera-de-alamo--cavnas--porcelana-fria.-190-x-100-x-90-cm.jpg)
![Carreras, Emilia. Móvil III, 2022. Móvil conformado por chapitas de aluminio, hilo tanza, aerosol y hierro. 120x220 cm](https://freight.cargo.site/t/original/i/0a33159d402634a5f0485615711a9c1b20cb5793a64112d1648722b6fd7ea48f/Carreras--Emilia.-Movil-III--2022.--Movil-conformado-por-chapitas-de-aluminio--hilo-tanza--aerosol-y-hierro.-120x220-cm.jpg)
![Chiappini, Constanza. S_T 01, 2022. Lápiz sobre papel Fabriano 200 grs.100 x 80 cm](https://freight.cargo.site/t/original/i/671769b0a60a1fba3761823ac48cd5200a1878315fd62ff02bf4ae2c72240296/Chiappini--Constanza.-S_T-01--2022.-Lapiz-sobre-papel-Fabriano-200-grs.100-x-80-cm.jpg)
![Erdei, Brenda. S_T, 2023. Óleo sobre tela. 210 x 190 cm](https://freight.cargo.site/t/original/i/8fd47ef245a73c0e1928f41b7e1034ce6d7927a82bb6612a1a5a53fb37eb857f/Erdei--Brenda.-S_T--2023.--Oleo-sobre-tela.-210-x-190-cm.jpg)
![Ferro, Samantha. Sin titulo, 2022 de la serie Para que sirven las espinas_ Hierro y resina. 67x50x22 cm](https://freight.cargo.site/t/original/i/ac7f078b5ef77aa670abe22a18606dccf6b8e3e3f46240a498b2937f3697b44c/Ferro--Samantha.-Sin-titulo--2022-de-la-serie-Para-que-sirven-las-espinas_-Hierro-y-resina.-67x50x22-cm.jpg)
![Caffarone, Mara. “Poder de relaciones _6”, 2019. Esmalte sintético en aerosol sobre vidrio y base de cemento con cuñas de madera y paño. 100 x 23 x 11 cm](https://freight.cargo.site/t/original/i/b9f5eb40352ffd02aeffed275a7cf7aab863f7df147964e634a70995f1322677/Caffarone--Mara.-Poder-de-relaciones-_6--2019.-Esmalte-sintetico-en-aerosol-sobre-vidrio-y-base-de-cemento-con-cunas-de-madera-y-pano.-100-x-23-x-11-cm.png)
![El Bondi Colectivo. S_T, Figuras de. cerámica. Cultura Santamariana. Período Tardío (1200-1535 d.c.). Ceramica. 23 x 15 x 11 cm _ 20 x 15 cm](https://freight.cargo.site/t/original/i/c9a46eff43d18b91597ecdb9aba0f2187717001ff8019e7ce609e9475de9b1e0/El-Bondi-Colectivo.-S_T--Figuras-de.-ceramica.-Cultura-Santamariana.-Periodo-Tardio-1200-1535-d.c..-Ceramica.-23-x-15-x-11-cm-_-20-x-15-cm.jpg)
![Gelatti, Diego. Sin título (las imágenes), 2021. Video monocanal, sonido. 1 minuto, 6 segundos Edición 1_3 + PA](https://freight.cargo.site/t/original/i/d3c47324a01018803849138e423ea067e3785cfab2a315c25201ee5c34c8cb78/Gelatti--Diego.-Sin-titulo-las-imagenes--2021.-Video-monocanal--sonido.-1-minuto--6-segundos-Edicion-1_3---PA.jpg)
![Garzon, Josefina. Collosea, 2022. Óleo sobre lienzo, cerámica. 160X120 cm](https://freight.cargo.site/t/original/i/e40a3ed94558e3ab6b091d5f1a08fa1a71d0f7fe7f2ad496a9489919a6d41465/Garzon_Josefina_Vital_2.png)
![Losada, Jimena. Sin título, 2019. Óleo sobre papel 300gr. 45x40cm](https://freight.cargo.site/t/original/i/8f54b8fa20bc535a02bfcb1b359e978b655b03f84a68aa7d0e0c4a15b437d866/Losada--Jimena.-Sin-titulo--2019.-Oleo-sobre-papel-300gr.-45x40cm.jpg)
![Gutierrez, Carlos. Un día de mil horas (2023). Ensamblaje. Puerta doble chapa inyectada, esmalte sintético, metal. 83x130x50cm](https://freight.cargo.site/t/original/i/138a24b7793b17e2ff4bb8874627d99dafd156526c93c0764715248974e4bbe3/Gutierrez--Carlos.-Un-dia-de-mil-horas-2023.-Ensamblaje.-Puerta-doble-chapa-inyectada--esmalte-sintetico--metal.-83x130x50cm.jpg)
![Martinez, Mariano. Sin título, 2021. Enduido y óleo sobre lienzo. 80 cm x 90 cm](https://freight.cargo.site/t/original/i/3e719bc3440dd02897c0351ceabc580ad5b0c8d9860ff4144d939b175b462710/Martinez--Mariano.-Sin-titulo--2021.-Enduido-y-oleo-sobre-lienzo.-80-cm-x-90-cm.jpg)
![Naistat. Emilia. Sin título, 2023. Óleo sobre tela Políptico de cuatro piezas. medidas totales variables](https://freight.cargo.site/t/original/i/4a27a16be2c44602bdb672f06abd75f43b81e1973971b1f88087bc160a37d35e/Naistat.-Emilia.-Sin-titulo--2023.--Oleo-sobre-tela-Poliptico-de-cuatro-piezas.-medidas-totales-variables.jpg)
![Montiel, Alejandra. Cuando el rio arde, 2022. audiovisual - video performance. 1920x1080 Duración_ 15 ́18 ̈](https://freight.cargo.site/t/original/i/95db2f65960d0ffa8b3c99d49faedac217608603213929a03485d59c7c218f7d/Montiel--Alejandra.-Cuando-el-rio-arde--2022.-audiovisual---video-performance.-1920x1080-Duracion_-15-18-.jpg)
![Miño, Clara. Tierra baldía de la serie Tierra baldía, 2023. acrílico sobre tela. 98x86cm](https://freight.cargo.site/t/original/i/68bc732a3c97f816ed9b879f469326b7d80e30f741c2da540c3958b7feee99ea/Mino--Clara.-Tierra-baldia-de-la-serie-Tierra-baldia--2023.-acrilico-sobre-tela.-98x86cm.jpg)
![Rodriguez, Nicolas. Mosaico, 2023. Arcilla, arena, paja y agua. 48x 400 x 2 cm](https://freight.cargo.site/t/original/i/0d689abacce1acabbf3ccac76b83d3a377bff98438611536292927f63457e278/Rodriguez--Nicolas.-Mosaico--2023.-Arcilla--arena--paja-y-agua.--48x-400-x-2-cm.jpg)
![Segre, Natalia. Instalación, 2022. Textiles sintéticos, naturales, metal, hilos de algodón, cerámica, pluma y plástico. medidas variables](https://freight.cargo.site/t/original/i/e883116bad5fb39324c961d1537752c8a156a9901330c510f556fd8cfd9f1997/Copy-of-Segre_Natalia_Vital_1.jpg)
![Ojeda, Juan. viborablanca, 2021_2022. escultura de poliuretano expandido, cristal, tela, pintura acrilica](https://freight.cargo.site/t/original/i/641387ccf2817f9059cf978943614ea9cfd4ef6a521faf384a9bd635e83e3110/Ojeda_Juan_Vital_2.jpg)
![Tejo Viviani, Amanda. Bodegon, 2022. Oleo sobre bastidor. 70 x 80 cm](https://freight.cargo.site/t/original/i/4d9d0b89f4a3a28a2ec92604794b3f2a39f1aaab922744b4cb14121d0e1811f4/Copy-of-TejoViviani_Amanda_Vital_1.jpg)
![Valdivieso, Rocio. Argumentos para lo intransferible, 2023. Instalación. Caucho usado, lona negra, papel negro, ganchos de metal, iluminación puntual.200 x 370 x 140 cm](https://freight.cargo.site/t/original/i/519e8fc6c8ec17757c1f265b7141d17b5cd0962c95b455924d5c74d8925cfb44/Valdivieso--Rocio.-Argumentos-para-lo-intransferible--2023.--Instalacion.-Caucho-usado--lona-negra--papel-negro--ganchos-de-metal--iluminacion-puntual.200-x-370-x-140-cm.jpg)
![Slavich, Federica. Heridas tontas, 2023. Díptico_ Collage. Óleo, recortes gráficos, lápiz y acrílico sobre lienzo y cartón. Medida total 92,5x55,5cm](https://freight.cargo.site/t/original/i/3bf3aaf2d46ded9c3266ef8fe550b71cbae0ef83f50386b6c28162754e78ac4c/Slavich--Federica.-Heridas-tontas--2023.--Diptico_-Collage.-Oleo--recortes-graficos--lapiz-y-acrilico-sobre-lienzo-y-carton.-Medida-total-92-5x55-5cm.jpg)
![Valenti, Juan. Un orden mayor, 2023. Oleo sobre lienzo. 183 x 165 cm](https://freight.cargo.site/t/original/i/2eaafa5eea953ad57781bed6380b6a37ef645695964d35fe6faa1bca4efa550f/Valenti--Juan.-Un-orden-mayor--2023.-Oleo-sobre-lienzo.-183-x-165-cm.jpg)
![Lerman, Luisa.Sin Titulo, 2020. Acrílico sobre bolsas de plástico. 40 cm x 25cm c_u](https://freight.cargo.site/t/original/i/e6e75afb8f4d19a5557a6216c6bbb0ef443a3ecf913f7fa267f7b478cec98ce9/Lerman--Luisa.Sin-Titulo--2020.-Acrilico-sobre-bolsas-de-plastico.-40-cm-x-25cm-c_u.jpg)
![Vivas, Maria Lujan. Algunas cosas que no me animé a tirar a la basura, 2020.Escultura en cerámica esmaltada. 24x38x23 cm](https://freight.cargo.site/t/original/i/e3dabd9c5fa99c0e6c979076bbc64fbe5b60e6b131312aa20eb2f5171f5b5ff1/Vivas_MariaLujan_Vital_1.png)
![Ramos, Roxana. “Tecnología del soplo”, del Proyecto OFICIANTES, 2019. Objeto de cestería en fibra simbol, en base a piezas de de Sixto Maita (cestero de Cafayate). 200 cm x 0,60 cm aprox. (diámetro variable según la temperatura ambiente)](https://freight.cargo.site/t/original/i/800d133d1e134cba609d4ed90928fb2e89225b7cdfb9b0f59249da9d358466c4/Ramos--Roxana.-Tecnologia-del-soplo--del-Proyecto-OFICIANTES--2019.-Objeto-de-cesteria-en-fibra-simbol--en-base-a-piezas-de-de-Sixto-Maita-cestero-de-Cafayate.-200-cm-x-0-60-cm-aprox.-diametro-variable-segun-la-temperatura-ambiente.jpg)
Delfina Foundation
London, 2022 - 2024
In partnership with the Anglo-Argentine Society, and with the support of the Argentine Embassy in the United Kingdom, Beatriz Bardin coordinates a two month residency at Delfina Foundation.
This residency is part of the Bridges Programme, a collective initiative that arose in response to a structural assessment undertaken by Beatriz Bardin on behalf of the Argentine Embassy in the United Kingdom. This report was commissioned in an effort to develop effective strategies through which to strengthen cultural ties in the visual arts between the two countries.
A guiding vision of the Bridges Programme is the recognition of curators and cultural practitioners as one of the most apt vehicles to foster these networks and exchanges.
For its inaugural iteration in Autumn 2022, the programme hosted Javier Villa, Senior Curator at the Museo de Arte Moderno
in Buenos Aires, who works exploring relationships between local imaginaries, politics, and territory. Click here to see an interview with Javier.
For its second iteration in Winter 2023, the programme hosted Andrei Fernandez, an independent curator based in the city of Salta, who works on issues of authorship, memory, and colonial resistance in indigenous cultural and artistic practices. Click here to see an interview with Andrei.
Applications for the third iteration of the programme are now closed. The awarded curator will be announced in November.
![Installation View, "The Listening and the Winds. Testimonies of a Presence" curated by Inka Gressel and Andrei Fernández, Museo del Barro, Asunción, 2021](https://freight.cargo.site/t/original/i/179726542f65fd3f49c6c973c41a4f7312e134536dc275a51fe2765fdd960b43/Installation-View--_The-Listening-and-the-Winds.-Testimonies-of-a-Presence_-curated-by-Inka-Gressel-and-Andrei-Fernandez--Museo-del-Barro--Asuncion--2021.jpeg)
![Meeting and exhibition of weavings from the Wichi women´s organisation. Photo by , 2022.](https://freight.cargo.site/t/original/i/3fbc0643e67083b12fb065b46d3d0efca199c4e8d57b95301081a7814d601afa/Meeting-and-exhibition-of-weavings-from-the-Wichi-women_s-organisation.-Photo-by---2022.-.jpeg)
![Javier Villa at Delfina Foundation, 2022.](https://freight.cargo.site/t/original/i/59c9028bff60b616dd48ff9d9730415dbdfd34bf2ec9a26b625f71d87139cd55/Javier-Villa-at-Delfina-Foundation--2022.-.jpeg)
![Andrei Fernandez at Delfina Foundation, 2023.](https://freight.cargo.site/t/original/i/e574ecb63ab11b8262b2893aacdc8fd27f394a5856a5375fdd39186b8203986c/Andrei-Fernandez-at-Delfina-Foundation--2023.-.jpeg)
![Installation view, "A History of the Imagination" curated by Javier Villa, Museo de Arte Moderno, Buenos Aires, 2019](https://freight.cargo.site/t/original/i/cb5eae3efb4bd3fcd0cfdf463e1430c05fce5664bf513962e477b72132e24c7e/Installation-view--_A-History-of-the-Imagination_-curated-by-Javier-Villa--Museo-de-Arte-Moderno--Buenos-Aires--2019.jpeg)
The Jewish Museum
New York, 2023
Beatriz Bardin has worked alongside the Jewish Museum in New York to bring about Marta Minujín’s first retrospective in the United States, “Arte! Arte! Arte!” on view from November 17th 2023, until March 31st, 2024.
Working as a liaison between the artist and the museum’s curatorial team –Darsie Alexander and Rebbeca Shaykin– Beatriz Bardin has spearheaded the creation of the artist’s archive, undertaken supplementary research, facilitated the creation of artist interviews, overseen translations, and aided in the creation of the catalogue for the exhibition, working alongside the Director of Publications Eve Sinaiko.
About Marta Minujín
Marta Minujín (b. 1943), is one of the most relevant and irreverent contemporary artists working in Argentina today. Over her more than sixty-year career, she has produced work that explores a multitude of artistic languages, scales, and social circuits, combining critical thinking and boundary breaking with an unwavering commitment towards the social and the political.
The artist studied fine art at the Escuela de Bellas Artes Manuel Belgrano (1953–59) and art education at the Escuela Superior de Bellas Artes (1960–61). Her notable honours include the Premio Nacional Instituto Torcuato Di Tella Award (1964), the Guggenheim Foundation Fellowship (1966), and the Golden Lion for Lifetime Achievement at the Venice Biennale (2017). Minujín has also represented Argentina at the Venice Biennale in 1960, and exhibited at venues such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, and the Tate Modern in London.
![Marta Minujin, La Menesunda [Mayhem], 1965](https://freight.cargo.site/t/original/i/c1f57d63010a3517334526ba65dc73f3ef4379d77edce9740c07608ba4090d51/low_Marta-Minujin_La-Menesunda-1965_4.jpg)
![Marta Minujín, El Obelisco de Pan Dulce [Obelisk of Sweet Bread], 1979](https://freight.cargo.site/t/original/i/d01253be0f6790b51d01e5983d7cbf64ee5867387cb16e9f786a6a6728fdaf21/MIM1979obeslicopandulce2.jpg)
![Marta Minujín, postcard, 1969, featuring _Minuphone_ from 1967](https://freight.cargo.site/t/original/i/97436b678bdb63bad35cf75b0b3435e711ae2e3fc405b55bd086a82115e34ff5/MMstudio.jpg)
![Marta Minujín, El Batacazo [The Long Shot], 1965](https://freight.cargo.site/t/original/i/10b83aee5e2d575c9de4584c15363fbcddbda7caf859553b5fa8f34e20d23d20/minujin-el-batacazo-sept23.jpg)
![Marta Minujín _ Andy Warhol, El pago de la deuda externa argentina con maíz,“el oro latinoamericano” [Paying off the Argentine Foreign Debt with Corn, “the Latin American Gold”], 1985_2011](https://freight.cargo.site/t/original/i/b822f0b0a7e9ef464bd83209d89686ab608cc96052b7afbcd363e393f4e7e525/4_Minujin-with-Andy-Warhol.png)
![Marta Minujín, El Partenón de Libros, [The Parthenon of books], 1983](https://freight.cargo.site/t/original/i/8cac0bb3e8a2871c11045c1058edc87f7e07649f159e78d9442276b06d1711e1/low_El-Partenon-de-Libros---nuevas-digitalizaciones-2-3.jpg)
![Minujín in her studio on rue Delambre in Paris, 1963](https://freight.cargo.site/t/original/i/a3c73fc0ce4d5ff0bc3bcbf28117689701bbcf8ce4e7a4e09f5e513fdb0d86bd/2JM_Shaykin_Minujin_fig._003_Minujin_in_her_studio_on_rue_Delambre_in_Paris-Website_Thumbnail_-_480px_W_72_dpi.jpg)
Pinacoteca São Paulo
São Paulo, 2023
Beatriz Bardin has collaborated with the Pinacoteca of Sao Paulo in the production of Marta Minujín’s first retrospective in Brasil: Marta Minujín: Ao Vivo, on view from July 29th, 2023 to January 28th, 2024.
Working closely with curator Ana Maia Antunes and the production team at the museum, Beatriz Bardin has undertaken archival and video research, overseen the production of works and facilitated the creation of the catalogue for the exhibition.
About Marta Minujín
Marta Minujín (b. 1943), is one of the most relevant and irreverent contemporary artists working in Argentina today. Over her more than sixty-year career, she has produced work that explores a multitude of artistic languages, scales, and social circuits, combining critical thinking and boundary breaking with an unwavering commitment towards the social and the political.
The artist studied fine art at the Escuela de Bellas Artes Manuel Belgrano (1953–59) and art education at the Escuela Superior de Bellas Artes (1960–61). Her notable honours include the Premio Nacional Instituto Torcuato Di Tella Award (1964), the Guggenheim Foundation Fellowship (1966), and the Golden Lion for Lifetime Achievement at the Venice Biennale (2017). Minujín has also represented Argentina at the Venice Biennale in 1960, and exhibited at venues such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, and the Tate Modern in London.
![Preparatory instructions for _Nido de Hornero,_ [Warbler_s Nest], 1976](https://freight.cargo.site/t/original/i/471e6b846a2b87a610e953162f6370dd43343c993271923301f235faf2b1ab06/Copia-de-I--La-tierra-es-envasada--a-2.png)
![Repollos_ [Cabbages], MAC-USP, São Paulo, 1976](https://freight.cargo.site/t/original/i/c16e1c297a4fd084416f11c36a92c6b54f1c9e39accab52d8eba3f704c960f5c/Copia-de-Repollos-SP-14.jpg)
![Memo for _Repollos_ [Cabbages], MAC-USP, São Paulo, 1976](https://freight.cargo.site/t/original/i/eef4e1b54fb179620edbcd39789342e1e0fd40fb5a0db81ccd8d6f903e8859dc/Copia-de-1668796714214.png)
![Marta Minujin with _Nido de hornero_ [Warbler_s nest], as part of her performance, Comunicando con tierra, CAyC, Buenos Aires, 1976](https://freight.cargo.site/t/original/i/9c850bc7be63ea63237a4897cb44ae62048387d9a7820d7b094b4d78f137a81a/Copia-de-Copia-de-134-Marta-en-el-hornero--Comunicando-con-tierra--CAyC--Buenos-Aires--1976.-1.jpg)
![Marta Minujín with _El Batacazo_ [The Long Shot], 1966](https://freight.cargo.site/t/original/i/4b2d007700a38282757aabc85999d23dfe25657d571c62b878ca694da05d5e3a/BATACAZO-1966-5.jpg)
![Marta Minujín and Camila Charask in Marta_s studio, 2023](https://freight.cargo.site/t/original/i/2c207819b0a67a14885c33f124d395b723388a0359cd973b3df6c6b3fa42dc07/WhatsApp-Image-2023-07-13-at-19.27.16.jpeg)
![Marta Minujín, preliminary sketch for _Repollos,_ 1976](https://freight.cargo.site/t/original/i/60e96fddd59254a2dc9cb5ac0024f03dd6f2e2959a1f93b06f8f7ef625f8e698/Copia-de-Repollos-SP-boceto-1.jpg)