Paloma Contreras’s presentation is the outcome of a blackout, a phenomenological essay representing artificially. The installation is broken up into stones, caves, ashes and pantheistic clouds of smoke that create a mock landscape. Each element is accompanied by a spectre, a ghost or an apparition, just like questions in the wind. For the artist, there is no universal phantom, and what she is laying out in these phenomenological/political invocations are different methodologies to listen to the constructed landscape, to the landscape as witness.

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For the final session of Siembra in kurimanzutto, the Argentinean artist Mariana Telleria exhibits a record of her intervention Las noches de los días / The Nights of the Days (2014)for which she displays a device constructed expressly for Siembra 34.

One morning, in August of 2014, the city of Rosario—the third largest city in Argentina by population—awoke in an upheaval: the traditional Museo Municipal de Bellas Artes Juan B. Castagnino had changed the usual color of its exterior and was painted entirely black.

Months prior, Telleria had received an invitation to participate in Ampliación / Broadening, a collective exhibit curated by Leandro Comba. T he title itself already suggested the direction the artist would take. She sent an email to the curator describing her proposal...

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Adrián Villar Rojas presents Untitled VI (from the series Rinascimento), a suite of domestic refrigerators with a vitrine encased within the freezer, where he creates compositions made of organic and processed foodstuffs – fruit, fish, beer, mushrooms, bones and animal flesh. The sculptural works are part of From the series Rinascimento (2015-ongoing), in which the artist employs traditional refrigerators to insist in their domestic and minimalistic aesthetic. Moreover, Villar Rojas imprints in them his prevalent interest in the entropy of the Anthropocene while he meditates on the fragility of life and our omnipresent relationship with machines. During the course of the exhibition these natures mortes are fixed in time as they are covered by frost, changing little by little by the effect of temperature on its tissues and matter.

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Eduardo Abaroa presents a selection of drawings on paper and wood that also include small format sculptures made of diverse materials, and a drawing table with archival material. The automatic act of drawing during idle moments or while talking on the phone, listening to a lecture, or waiting for  paperwork is for Abaroa the testimony of particular time periods in his life. After half a decade of idle doodling, that is to say, without apparent intention, the artist thought he perceived that in many of these something could be saved and developed. The resulting works demonstrate the symbolic value of the freehand, associative imagery and boundless imagination in sketching the subconscious.

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Jou Morales’s installation for Siembra emerges from a mixture of strident and hypnotic sounds and colors, graphic references of contemporary culture, playful experiences and everyday life that the artist has captured on his canvases. The beings he represents, disformed and palpitating, mutate, self-construct, cannibalize, mix and collapse in a non-linear narrative. These protagonists develop in scenarios that are close-ups of compositional elements from other paintings in the project, with no beginning or end in this series. A bone, a cell or a rock, expanded, are now the background for new elements that are expanded in another painting. All the pieces intertwine and generate a non-narrative cycle made of pauses, replicas, remainders and quotations of themselves.

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Fernando Ortega presents Manicure for Siembra, a project with which he seeks to provoke a voluntary synaesthetic response based on color and music. Intervened photographs come from the artist's personal archive, in which he has accumulated still images of the hands of renowned musicians that he has extracted from videos of concerts and piano recitals. For this he draws on the expertise of manicurists, who are colorists by trade, and invites them to respond spontaneously and personally to a piece of music through color. As part of the process, each manicurist listens to a piece of piano music chosen by the artist and then select a nail polish color based on what the music elicits to, and applies it on a photograph of the concert they have just heard.

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Feathered Changes, Serpent Disappearances presents an archaeological search for absence and a study in the gaps of memory. What role does chance—in the form of lapsed time, erosion, fragmentation, and human intervention—play in our subjective interpretation of history? By lingering on the unknown histories of artifacts, Deball underscores the effects of natural and social processes within archaeological narratives.

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