Special productions released in the BP.15

Mariana Obersztern invited the public to abandon its role of passive spectator and occupy a unique position in the context of a joint action. The public received from the artist, a sealed envelope with precise information about the route to follow, the actions to be executed, the museum works to contemplate and dialogues to read and wield against them.

The artist Martin Sastre proposed the public to stand in the Casa Rosada balcony for 1 minute and experience what Eva Duarte felt in her final speech of May 1, 1952, when she addressed the workers.

Leonello Zambón y Eugenia González develop an installation that consisted in substituting the window panes in the facade of the Casa Nacional del Bicentenario for sounds these panes can transduce from the inside. The window panes were removed from their original location and be relocated in different strategic points of the building. The ambient sound that filtered through was hyperamplified using piezoelectric sensors and emitted outside, where a wooden platform supporting speaker was replacing the previous facade.

Mondongo exhibited Pinocchio's adult life preserving some traits of the unanimated. Behind a windowpane, the character carried out a series of actions recreating daily rituals or scenes of the world of art. The space where Pinocchio lives simulated a large fort inspired in the Hall of Mirrors of the Versailles Palace but stripped from its opulence, for it is made up of wooden boxes originally used for vegetables. Its depth exacerbated the illusion, evidencing the disproportion of scale between the place and the body that inhabits it. The cincture folded over the character, turning the scene into a self-reflective reverie.With this playful mise-en-scene, where the roles of Pinocchio, the girls and other characters were played by different performers in each action, Mondongo explored issues of gender, and existing taboos on sexuality.

Amalia Pica developed Asamble, a participative performance in which a heterogeneous group of people gathered in a square carrying chairs. This event suggested an attempt to voluntarily congregate in a circular assembly that never closes.

The work of Martin Bauer and Alexander Cesarco was structured in three acts the style of a microópera, and revolved around three main themes: the past (childhood), the present and the future. Two adult performers alternated their role as protagonists, and was accompanied by a piano and percussion duo plus an electronic device that played a quadrophonic sound track.

Fernando Rubio created El tiempo entre nosotros, a performance about a man who decides to abandon his environment to occupy an abstract and recognizable space, turning the relationship he has with strangers into an aesthetic event while exploring the possibility of being someone else. For five straight days, he talked and write from this new place, with the almost constant presence of the public. He told a story and permanently and repetitively reflect upon the place where he belonged, the different ways to leave it behind and observe it, the passing of time and events and how they mediate our decisions and transformations. When night arrieved and he was left alone, he has a radio to connect with the outer world and talked - with potential listeners.

Marta Minujin conducted a performance that started from an app in which, through a series questions, she invited the public to find their soul mates and ended with a meeting at the Puente de la Mujer in Puerto Madero where the artist dropped from a helicopter thousands of flower petals.