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.

(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. See: Website.

(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. See: Dossier.

(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, and given as presents to the host collective — plus an open talk about collective initiatives in art and activism in South America. See: Flickr.

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

(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.

(2015) Digital drawing, MS Paint, 60x80cm. Made during a political assembly held in the campsite of the installation "Carpa Rosada", in which it was decided to openly support a presidential candidate. I installed the drawing after he lost the election, when artists were invited to occupy the exhibition. See: Carpa Rosada PDF.

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

(2015) Website.

(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) The dissapearance of one of the models gives birth to a series of works and a walk through Brussels (across three institutions responsable for itsloss) 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.

(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.

(2011) I invited all members of a cultural organization to each choose a page from any book to be displayed for a month, next to his/her name.

(Matienschön, 2016) Group show by the curatorial collective Matienschön around its history and identity as a project. My contribution is three A4 "task boxes". 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.

(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: Website.

(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: Website, Anfibia, Facebook.

(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: Website, Zine (1st edition), Youtube.

(Matienschön/public space, 2015) Three urban platforms/actions resulting of a residency leaded by a77. A club for repairing objects to foster sustainability, architectural workshops for kids, a treehouse platform. See: TXT, Exhibition view.