GALA BERGER | SELECTED WORKS

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GALA BERGER | SELECTED WORKS
CONTENT
SYRIAN ELECTRONIC ARMY
ROBO
THE CHECK
CYPHER
ADJUSTMENT PLAN
THE OTHER CASE
© © 2016 | ↄ License
www.galaberger.com | galazberger@gmail.com
LAS PUERTAS
HERO
THE STONE THAT CHANGED
THINGS
TWO HOUNDS
THE PRICE OF THE
DIFFERENCE
CHINESE FOR BEGINNERS
DEEP WEB
SHADOW
THE FORM-GIVER
THE LINE, THE CROSS AND
THE CURVE
SUCURSAL
CAPTIVE AUDIENCE
THE CUCKOO
AVAILABILIY IN RISK
DOUBLE-DISTANCE
POLLO FRITO
LEMBRA-ME
YOUR MUSEUM
RED BEAN JELLO
INK CIRCLE
WEATHER SERVICE
CLOSEOUT SALE
CLOCK
SORBUS
OCCUPANTS OF
UNINHABITED SPACE
LA ENE
EARTH REMAINS
URGENTE
ALL THAT GLITTERS IS
GOLD
INMIGRANTE
SIRIAN ELECTRONIC
ARMY
Collection of 29 watercolors over copies of internet hacks & leaks by the
Syrian Electronic Army (from twitter,
chrome apps, new york times, etc) in a
tracing-paper notepad.
37 x 50 cm
2015
ROBO
.Avi video featuring robbery footage from surveillance cameras from youtube. Audio used is taken
from newspaper chronicles about illegal art trade in Argentina.
variable duration
2016
ADJUSTMENT PLAN
Installation composed by products with racist logos found in local grocery stores.
variable dimensions
2015
THE CHECK
Pencil & watercolor over cotton paper on foam board.
70 x 30 cm
2016
The check was first released to acquire Roberto Jacoby’s “Mao y Perón, un solo corazón” piece; the
trade never took place. The second check comes out of the impossibility to cash in a Fundación
Jumex scholarship fund in 2015. Hencefore the check works as the only trade tool in an overflawed
system.
CYPHER
Benzacar gallery collection
installed in garage, includes
pieces of Juan Carlos Romero,
Antonio Berni, Pat Andrea, Daniel Garcia, Marcelo Pombo and
Eduardo Sivori
variable dimensions
2014
THE OTHER CASE
Newspaper clippings on tracing paper
variable dimensions
2014
Series of drawings and inkjet prints in which differents newspapers notice the presence of
nazi war criminal in argentina since the 50s and 60s.The project is separated in two rooms,
one with blue light and other with green light; the variations in light signal the different
stages of research, its links and twists.
LAS PUERTAS
Ink, plastic & tourists
Sunken & demolished buildings’ façades of Mexico DF traced in nylon, relocated afterwards in Acapulco hotels.
variable dimensions.
2013-2015
THE STONE THAT CHANGED THINGS
Collection bills on wood
variable dimensions
2013
The constructions from La piedra que cambió las cosas, 2013-2014 series, made from wood and
uncirculated banknotes from various countries, seem to be part of an old photo album. These currencies from Paraguay, Argentina, Uruguay, United States, Bolivia and Brazil may be more valuable
to collectors than have any actual market value. The bills feature a careful selection of buildings,
historical figures, national landscapes and dated heroic deeds. This kind of portrait of the national
character of the people is as changeable as the stock market, the interests of the World Bank and
the fall of the dictatorships that once plagued the continent. Now there is a National Institute of
Argentine Historical Revisionism and in recent years, Argentine bills have become, even more
because of their novelty, an ideological object: in the hundred peso bill, Julio Roca was replaced
by Eva Perón and now, instead of Domingo Faustino Sarmiento, the fifty peso bill reclaims the
Malvinas [otherwise known as the Falkland Islands] Islands for Argentina.
Extracted from the exhibition text by Marina Reyes Franco
TWO HOUNDS
Copy on pencil of the intelligence office on the whereabouts of joseph mengele on wall
variable dimensions
2014
This installation kicks off with copies of the leaks from Argentina’s State Secretary of Intelligence concerning the whereabouts of
the nazi doctor Joseph Mengele. From there on, the text goes spreading word by word, pencil on the wall until it’s over and the
space is fully occupied.
HERO
Series of argentinian celebrated historical characters, watercolor over traces from screen.
35 x 50 cm
2014
THE PRICE OF THE
DIFFERENCE
Rubbing art manifests -Arte Nuevo (Peru), Arte Nuevo (Paraguay),
Grupo Rex (Brasil), Bosque de los artistas (Paraguay), Colonia
Tolstoyana (chile)- on tracing paper and graphite
300 x 400 x 200 cm
2014
CHINESE FOR
BEGINNERS
These series of 300 drawings are made on traditional chinese calligraphy paper
It’s an attempt to learn the chinese language through watercolors.
Watercolors on Mao Benzhi paper
21,59 x 35,56 cm
2010.2011.2012
DEEP WEB
HD Video single channel
record of the exhibition, without permission, at the informatics museum
6’22’’
2013
Video realized in one afternoon in Buenos Aires museum of informatics during an exhibition dedicated to
Steve Jobs and Macintosh, wearing an Anonymous (guy fawkes popular comic character) mask. Intervention featuring collages and newspapers cut outs.
THE FORM-GIVER
Video projections from one cartoon box into another showing footage of
visitors to exhibitions in the Museum of Barro (Paraguay) and the Museum
of Fine Artes in Chile.
14’ 13’’
2013
SUCURSAL
Ink on nylon
tracing of Museum La Ene facade
300 x 400 cm
2011
The work Sucursal was created to transport La Ene’s premises. it is a true representation, a copy, of the museum’s façade. Due to its
flexibility, it is mobile. it represents the creation of a space conceived on its users’ scale and according to their whim. Sucursal embodies the possibility of occupying any space and making it one’s own, allowing the museum to travel as inexpensively as possible.
SHADOW
Sound machines of the Di Tella Institute 1968
200 x 340 x 140 cm
2013
There is a history of computing that seems built in its linearity and in
the protagonism of the developed countries, the image and likeness of the
canonical narrative of modernity. However, both constructions fade to find
the edges of this imposed map, there, where ephemeral and sporadic meet,
unthinkable technical appropriations occur. Far from garage recurring image
in Silicon Valley, Berger intends to develop her exhibition in the same
way that these other stories, based on the unexpected links between fiction,
technology and political utopias. Thus, in a first instance, the devices that
once formed the Di Tella Institute’s Electronic Music Lab now rebuild its
relationship with the atomic project Huemul, the epic failure of the Austrian
physicist Roland Richter during Peronism.
Extracted from the exhibition text by Agustin Diez Fisher
THE LINE, THE CROSS AND
THE CURVE
Steel wire, nylon and toilet paper
variable dimensions
2012-2013
AVAILABILITY IN RISK
Gelatin paper from TV shows, wire and light bulb
variable dimensions
2013
CAPTIVE AUDIENCE
Street banners
Museums advertising campaign
400 x 150 cm
2012
THE CUCKOO
Performance- the cuckoo hides in the shadows and follows you during the exhibition
variable duration
2012
LEMBRA-ME
Remains of musical experimentation of the 60s
variable dimensions
2013
DOUBLE-DISTANCE
37 watercolors city-portraits, traced from internet
in a tracing-paper notepad
35 x 50 cm
2014
POLLO FRITO
Chapter 4
Noosed by the strings of jimi’s guitar,
I swing, purple/hazed pendulum. Hypnotizing
the part of the eye that never dies. Look into my
eyes are the windows of the soul is fried chicken,
eggs, and oil is the stolen blood of the earth, used
to make cars run and kill fish.
Who me? I play scales. The scales of
dead fish of oilslicked seas. My sister
blows wind through the hollows of fallen
trees. And we are the echoes of eternity.
Maybe you’ve heard of us.
We do rebirths, revolts, and resurrections.
We threw basement parties in pyramids.
I left my tag and the wall. The beats would
echo off the stone and solidify into the
form of ligthbulbs, destined to ligth up
the heads of future generations. They
recently lit up in the form of BA BOOM
BOOM OM. Maybe you’ve heard of us.
by Saul Williams, pag 156, The dead EMCEE Scrolls
The Lost Teachings of Hip Hop
Colección Visor de Poesia, Madrid, 2006
Performance-installation to walk through wearing a mask provided at
the entrance
variable duration
2011
YOUR MUSEUM
HD video
tutorial how to make your museum
8’35’’
2013
RED BEAN JELLO
Korean military tent (waste from the war) and residues obtained from neighbors of the Anyang-si
market (for a public dance floor)
200 x 400 x 180 cm
2009
WEATHER SERVICE
Record of climate action on Duratrans photographic paper
variable dimensions
2009
CLOCK
Wood, gelatin paper, letraset
variable dimensions
2012
INK CIRCLE
Recycled materials from industrial
printing and synthetic paint
variable dimensions
2009
Series of paintings on the surface of publicity photographs with misprints. For parts, waste materials were collected by professional printing companies, which in any way any part of the printing system was unsettled by the machine. Canceling the possibility of observing the product (to make
way for a system that’s similar to adjusting color in a TV set) this material is thrown out of circulation within a container business, where it is found
and then intervened with watercolor and synthetic enamel.
OCCUPANTS OF UNINHABITED
SPACE
Fabric, limes, wood, transparent papers
variable dimensions
2009
CLOSEOUT SALE
White chalk on glass
250 x 250 cm
2012
SORBUS
Plástic, trees, apples, wood, paper,
variable dimensions
2010
Installation produced in Tampere, Finland, using leftover materials from deforestation. For the tour of the installation, we must follow Karhu (the
person wearing a bear mask), a famous brand of local beer. Karhu guides visitors through the forest among the remains, including parts of the
Sorbus tree, which was once used to make a strong alcoholic drink, banned nowadays.
EARTH REAMAINS
27 paintings exchanged for 27 plants
(exhibition view before the exchange
begins)
series of paintings on discarded
materials for printing companies
variable dimensions
2011
1 - The paintings, twenty-seven all in all, made in different formats and sizes. To those I called as Goods for trade, numbered and signed. (Status of
the commodity as an object and not only central to economic trade, but as a cognitive model based on sensitivity)
2 - The date of exchange, the two-hour performance in which the exchange took place, but in this case the change occurs between inorganic and
organic matter, to establish this difference, it is important to note that while the first as canonical works, the notion recharged fetish art have a
longer duration in time, the latter whose fragility is defined by its character as a living organism have a finite duration and next
3-Twenty-seven plants exhibited for one month (the same were sold), with their symbolic meanings not necessarily derived from its function, for
example between plants was a cactus exchanged, according to popular mythology that means “strength to difficulties “, through collaboration and
chance, you create other way
ALL THAT GLITTERS IS GOLD
Paper, garbage, aquarium
variable dimensions
2007
The exhibition is in an aquarium in ruins. The pieces are the result of the order of the rubble, organizing trash in
the place adding up tires and stripes and colored paper of all kinds. The concern was to activate a location where
the accident gave way to small situations: as a wad of paper in imitation of a stone.
PROJECTS / COLLABORATIONS
URGENTE
2014
Collaborators Martin Farnholc Halley, Tobias Dirty
Urgency can’t wait, it requires immediate results; the equation of this urge and its outcome outlines
the way for us to run. Our project seeks to establish, in a most contemporary way, a new versatility
canon in arts, in its exhibition, the way it’s marketed and largely regarded. We set out to identify the
boundaries of self-management and expand them by creating new links between languages, disciplines and generations.
INMIGRANTE
2012-2013
Inmigrante worked for two years as a contemporary arts gallery engaging a wide variety of audiences
due to shows and programs related to experimentation and exploration around under current arts,
joining worldwide artists into a common will of production and a special interest in the local show.
Suitably located in a San Telmo basement in Buenos Aires, Inmigrante provided a space for worldwide
artists selected for their commitment in promoting the importance of language and updating the
acknowledgement for artists contribution to society.
LA ENE, NUEVO MUSEO ENERGÍA DE
ARTE CONTEMPORÁNEO
2010-2016
La Ene was founded in august 2010 and came up as a platform for the critique of the institutional ways
in which art is currently produced, legitimized, distributed and marketed. Being the first contemporary arts museum in Buenos Aires, La Ene develops a radical intervention on its very environment,
renewing the ways in which we see museums while questioning the arguable opposition between alternative and institutional; boosting and promoting a space for critical thought on arts and becoming
an open, flexible, dynamic, expansive and chévere museum.
PARAGUAY ART BOOK FAIR
2015-2016
Paraguay Independent Art Book Fair invites independent producers, independent publishers, visual
artists, publishers of fanzines and fans of graphic production. Participation in the fair is free and each
exhibitor presents, markets and exchange their productions.
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