Agustín Jais (Buenos Aires, 1985).

(Manofim Festival, Jerusalem, 2020) What Changed Yesterday is a participatory walk that merges two territories at the same time: Jerusalem and South America. Following a path across West Jerusalem, the tour engages in a conversation with a dozen landmarks of artists' involvement in the struggles for Memory, Truth and Justice in Buenos Aires and Santiago. At each point, the tour connects the sociopolitical climate here and there, exposing the participants to translations between two seemingly unrelated spots. A virtual, multimedia version of the tour was also presented at Manofim Festival 2020. More.

(Matienschön, 2018) A Ferris Wheel is installed for a gallery's 10th Anniversary. The cabins are scale models of 36 exhibitions that happened in that same room, each made by the original artist. Next to it, a video based on footage from vernissages, a scale model and a series of texts. More.

(with Denise Lara Margules, Mestizo Arts Festival, Belgium, 2016/17) An artistic research into cultural ecologies towards the creation of alternative institutional relations between Belgium and Argentina. Ten cultural organizations were linked through exchanging scale models of their buildings, that helped trigger experimental collaborations between its managers. Moderating the exchanges and documenting the process in different media, from video to embroidery, the duo of artist-managers reflect on how do we do things in the world of institutionalized culture, how we could do them, and who cares about it. The result of this 16-months project was presented in October 2017 in Brussels and Antwerp as a performative installation and a series of context-based events: exhibitions, a participatory walk and a lecture performance. View dossier.

(Se Alquila/Estado, Paraguay, and Matienschön, 2015/6) Citizenship in a tent: a research in national history derives in a context-specific, phantom institution hosting a program of experimental activities. First, a political & poetical camp is installed during the month of presidential elections. Based on a research over a failed bill of law, citizenship is reimagined around a tent that stands for the Presidential Office, alongside idiosincratic documents, hacked symbols and a tight program of activities. A year later, the tent is installed as a fake regional embassy in a market in Asunción, on the bicentennial of Argentina’s Declaration of Independence. This time, the performative installation sought to bring history to the present through a post-colonial lens, by means of artisanal operations over archive documents and a full diplomatic agenda. See: Website, Dossier.

(2020) 96 vector drawings. View more

(2020) A drawing and a poem, based on the Argentine's President visit to the World Holocaust Summit in January 2020. More.

(2020) Interventions on found postcards. More.

(2020-21) Drawings, in process. View more.

(2019) IEDs drawn in TrazoSyphon, an extremely limited software designed for live collaboration, while watching Israeli TV series. See: Zine.

(2019) Drawing in TrazoSyphon, an extremely limited software designed for live collaboration.

(Casa Xitla, Mexico DF, 2017) A map of significant slogans from current demonstrations in Latin America, created as a result of interviews with the participants & staff workers of a residency for Jewish Latin American artists in Mexico City. The signs where fixed to pencils and installed in the ground. Viewers had to lift them up to see the inscriptions. See: Flickr.

(2013-2017) Drawings in cellphones, tablets and notebooks, made during project meetings. See: Web samples.

(2012-2014) Yearly photo series. See: Season 2014, Season 2012, Season 2007.

(2015) Website.

Bidud (2020) · Casas (2012) · UV (2015) · Río mojado (2013) · Temporada 2014 · Coco (2013) · Blumen (2012) · Magnéticas (2011) · Tocan (2015) · Gewerben: Lieben (2012) · Nocturnos (2007/9) · Barcelona sin (2008) · Corrientes, 2007 · Temporada 2007 · Filatelia (2005)

(Festival LODO, Buenos Aires 2018) The project "Water My Plant" is presented in Buenos Aires, algonside context-specific works by Belén Charpentier and Baró-Cutró. Water My Plant is displayed as a series of videos and scale models, plus a performative storytelling. See: Project dossier, Exhibition views, Exhibition website, Performance script.

(Mestizo Arts Festival, wpZimmer, Antwerp, 2017) Performative installation. See: Project dossier, Installation views, Video excerpts, Performance script.

(Mestizo Arts Festival, Brussels 2017) Exhibition and participatory walk, part of the project "Water My Plant". The walk connected 3 cultural institutions in Brussels and one in Buenos Aires, borrowing from genres such as film noir, procession, touristic tour, personal journal, recycled games and collaborative videomaking. See: Project dossier, Installation views, Video excerpts, Performance script.

(Hamiffal, Jerusalem, 2017) To encourage an artist collective to pursue the management of a cultural center, stories from managers of artist-run spaces around the world are collected, illustrated in cheap wrapping paper, presented at the center's co-working table and finally given as presents to the host collective alongside a talk about collective initiatives in art and activism in South America. View more.

(with Denise Lara Margules, Matienschön, 2015) One night-only relational installation based on a jewish, Benjamin-ish reading of the P2P network "Soulseek" to conjure energies for next year. A ritual table with bread, embroideries, texts and objects. See: Website, PDF.

(PANORAMICA Festival, Buenos Aires, 2013). Live audiovisual performance. The idea: a collective creation based on the shared learning of accesible technologies. The story: a fire on communal houses gives birth to a new dawn. The setup: The result of live-editing nine simultaneous layers of animations and found footage was projected on four screens. Analogic visuals were juxtaposed to them, by means of a joystick-controlled, rotating overhead projector, like a lighthouse adding analogic light to the projected pixels. A four-piece band added live music to the mix. See: Website.

(dir. Belén Charpentier, El Porvenir Festival, 2015) Live data visualizations for Belén Charpentier's relational performance. A play as an assembly as a platform for collective agency. The audience, sitting in the stage, decide what they should work on after the play is over; the decision-making process is followed on the screens. See: Website.

(2011-2018) Artist-run contemporary arts space. For 8 years, the team commissioned, curated and produced 100 site-specific exhibitions, interdisciplinary festivals and residency programs. Furthermore, it published dossiers and organized events and workshops. A platform for emerging artists, Matienschön fostered collaboration, interdisciplinarity and civil participation through art. Website, Publications.

(2012-2017) Festival for new media, music & realtime art. In its 16 editions, spanning 120 hours, it presented the work of 250 national and international artists. LET IT VJ helped tighten the community of new media practitioners while offering them a platform for experimentation and collaboration, and for visibility to general audiences. Facebook, Website.

(Plinio Villagrán Galindo, CC Matienzo, 2018) A reconstruction of the Mayan city Kaminaljuyú, posing questions on human and cultural rights and urban development. See: Website.

(K.A.K., CC Matienzo, 2018) The Belgian performative collective worked together with local artists to create a new project. See: Documentation.

(Sebastián Hacher and Mariana Corral, Club Cultural Matienzo, 2017) Through embroidered photographs, texts, audiovisual pieces and a series of activities, the exhibitions attempts at restituting the soul of the Mapuches, in the context of the genocide perpetrated by the state and its current continuities. See: Photo album, Text, Facebook page.

(Club Cultural Matienzo, 2016) A documentary exhibition, a zine, 4 shows, 5 talks, a minifestival and a podcast concerning the legacy of the nightclub “Cemento”, a major yet conflicting landmark of Buenos Aires cultural history. See: Photos, Zine, Youtube.

(Club Cultural Matienzo, 2011) 10 years after, a videoinstallation by VolumenExpress (Germany/Norway), a performative season of 15 commissioned pieces and a day-long event reflect on 2001 Argentina’s crisis. See: Photos, Video

(Mestizo Arts Platform, Matienschön, 2012) ARG-BEL coproduction. A documentary exhibition about the recent spring of murga bands in Belgium and Europe and the community-based cultural collective that iniciated it. Alongside, a mini version of the Antwerp-based urban arts festival Mestizo Arts Festival presents a curated program of short videos from Argentina and Belgium. See: Texts