Ministério da Cultura, Act. and Instituto Tomie Ohtake present

Un Lento Venir Viniendo
Chapter II
Colección Oxenford
Instituto Tomie Ohtake

Curated by Argentine poet and curator Mariano Mayer, the show consists of 71 works by 48 artists from one of Argentina's most important contemporary art collections, founded by businessman Alec Oxenford. This is the second chapter of a project in three acts that began at MAC Niterói between 2022 and 2023 and will move on to the Iberê Camargo Foundation in Porto Alegre between 2024 and 2025.

05.09.2023 – 19.11.2023
From Tuesday to Sunday, 11am to 8pm
Free entrance
Instituto Tomie Ohtake
Rua Coropé, 88

Un Lento Venir Viniendo

Mariano Mayer

Un lento venir viniendo exhibits for the first time in Brazil a selection of works of contemporary Argentine art that the Colección Oxenford has been compiling since 2008. Each one of the three exhibitions that make up Un lento venir viniendo has been conceived as if it were a chapter (I, II, III) of a novel in progress. In total, the project, whose title corresponds to a verse by Argentine writer Macedonio Fernández, will bring to the Brazilian public works created by more than 80 artists, whose selection does not attempt to reflect a representative, comprehensive and exclusive image of the totality of contemporary Argentine artistic production. Instead, Un lento venir viniendo explores, through different perspectives and the elaboration of partial images, a way of discovering significant areas for contemporary Argentine art.

Each of the project’s chapters brings together different works and references an emblematic cultural episode for the artistic life of the Brazilian cities where the exhibitions will take place. Aesthetic events that do not have a historical or genealogical connection with the exhibited works, but whose essential richness, specifically the fundamental aspects that inspired them, offer, at the curatorial level, an alternative and unexpected point of view that allow rediscovery of neglected aspects of contemporary Argentine art. Geographically and thematically displaced episodes ignite fresh readings of a scene that is foreign to them and that, for that reason, activate a revealing itinerary for the Colección Oxenford. In the case of São Paulo, the highlighted aesthetic episode is the artistic language developed by Hudinilson Jr. from the use of photocopiers, bringing about the notion that has worked as a trigger for this exhibition: that of “copy”. Un lento venir viniendo. Capítulo II is not an exhibition that intends to illustrate what copy means for art; on the contrary, copy appears as a platform where contemporary art encourages us, through selected works, to think about the meaning of copy; the meaning of art; their points of contact, their possibilities and impossibilities.

A broad and complex bond unites art with copy. A relationship that, because it is so essential, often presents itself to us as unfathomable. It is a multiple relationship, inhabited by a great number of misunderstandings. In fact, the word “copy” unfolds its meaning to refer both to a procedure and to the object that results from such procedure. In both senses, the notion of copy builds a relationship with art that is perfectly intimate and absolutely alien. Every time we think of a copy as a synonym for the act of representing, we say that it is intimate. The copy, in this case, is responsible for managing the relationship between art and the world. We say that it is alien, on the other hand, when we think about the serial copy-making of commercial objects. Faced with this universe of functional objects, identical to one another, art retreats to the construction of unique and singular forms. Art and copy organize a bond that constantly reproduces itself and that, by moving about, redefines its meanings. In each case, a certainty is reinforced that no copy can hide: that of being an equal which is never the same.

“When I was younger I wanted to paint like many people”, says Fernanda Laguna, “and then I would have the world’s paintings that I wanted, by painting them myself”. This notion of copying as contraband, as individual piracy, that arises from an appropriation exercise, and at the same time, a form of hierarchization and translation of cultural values, is shared by some of the works that make up Chapter II of Un lento venir viniendo. Lucas Di Pascuale, for example, searched within his own library for images produced by admired artists with the aim of making manual copies of them, thus apprehending them and building a collection, made in the image and likeness of his own desire and his own work. Nicolás Martella and Manuel Fernández, for their part, expanded and made new prints of the photocopied images through which, during their university studies, they were introduced to the canonical works of Western artistic tradition. Suspended in the exhibition room, these copies of copies promote, through their imperfections, a reflection on the canon, on artistic education and, finally, on what we see and what we do not see. In Juan José Cambre’s work, we discover the copy through its movement between different media and formats. The paintings that we see in the room are reproductions of the book pages where Cambre compiled a series of monochrome paintings that he had created from a color palette extracted from Artforum magazine. Marcela Sinclair, in turn, approaches the canon of art with wit and a sense of humor. While working with a simple domestic cupboard, she emulates, in their function and title, the polymorphic sculptures by Lygia Clark (Bichos). The conceptual richness enclosed in the tribute converts the copy into a model of action for collective authorship, capable of disarranging our gaze and enriching the material world that surrounds us. Pablo Suárez bestows sculptural dignity on a character of consumer culture. El Pibe Bazooka was the protagonist of a short story that accompanied the most consumed brand of chewing gums in the 1980s. Extrapolated to a natural scale and covered in bubblegum pink, Suárez turns it into an ironic figure, placing a homosexual pornographic magazine between his hands and replacing the bubble gum he is chewing with a condom. Likewise, Dudu Quintanilha explores the ambiguous effects that art produces when its object of representation is vulnerable, in this case when sculpture becomes a deformed scene of street violence. Captured photographically, we find a situation that is the product of tension and communion between two men, where the artist’s voice and recording meet another marginal body, which becomes an object, a narration and a choreographic engine.

When art manages to alchemically combine copy and representation, the results surpass their mimetic condition, achieving products that stand out for their uniqueness and invention. Mariana López, for example, uses painting materials, such as pigments and canvases, to build colored replicas of everyday objects that can visually and spatially supplant the originally represented object. Pictorial representation thus becomes presentation, and art becomes a factory of trompe l’oeil and simulacra. Alfredo Dufour’s works are characterized by a representational fidelity that approximates the universe of cartoons and the reproduction of objects and characters belonging to industrial mass culture. Thus, a chihuahua separated from the world by a muzzle is and is not the nervous and harmless mascot that offers company. The works by Fernanda Laguna and Marcelo Pombo embody an aesthetic program, that of the exhibition room of Centro Cultural Ricardo Rojas during the 1990s. Art performs the function of ornamenting everyday objects by means of spurious techniques, such as those employed in handicraft workshops. A work on ornamentation that seeks to once again engage art with beauty. In contrast, Lucrecia Lionti recreates a school chalkboard using textile art. A soft mural, which, through its metonymic relationship with education, symbolically continues to evoke a memory that is as emotional as political. A screen that shows us hazy graphics on its surface with which to exercise a future archaeology, where apparition and disappearance, the recording and blurring of knowledge are combined. Paula Castro, in turn, builds forms from pre-existing matter or situations. In this case, we see a unique and identifiable form inside an industrial object. She corrodes an anodyne plastic surface until it reaches its skeletal shape – the minimal, schematic, essential expression of the object. In some cases, however, the representation can only achieve the thing represented through a narrative or poetic reframing of the object. In such cases, the copy turns into a mutant form. This can be observed in the exhibited work by Fabián Marcaccio, who thematized, across different pieces, the extortive kidnapping of siblings Juan and Jorge Born, heirs of the corporate empire Bunge y Born, around 1975. What we see in this painting-sculpture, or “paintant”, as described by the artist, are the 61 million dollars paid as ransom. A stack of dollars in the process of becoming something else. The sculptures by Diego Bianchi also propose mutant forms, which anthropomorphically re-elaborate the urban imaginaries that the artist discovers in his walks through Buenos Aires. Works that are nourished by the forms and the materials, the detritus and the ways that individuals find of inhabiting the city.

Much of what we think about the meaning of copy and almost everything we perceive as modern art is unimaginable without considering the development of mechanical reproduction techniques for image and sound. This symbolic revolution is the result of the irruption of photography and video, radio and television, music and reading as mass phenomena. In this sense, the work of Alberto Goldenstein places us within an obsolete process, the assembly line of analog photographic production. The composition he presents, made up of a set of urban foreshortenings, is but an expansion of the contact sheet of a reel that the artist photographed forty years ago, during his studies in the United States. Estefanía Landesmann, for her part, uses offset printing to transform the photograph into a sculptural volume. Inside the prism composed by the superposition of folios, which reproduces the evanescent image of a window, underlies an ontological question: where is the essence of a photographic image? Cecilia Szalkowicz and Gastón Pérsico work with a lifestyle and consumption magazine from the 1970s. The duo of artists re-edited an issue of Bazar magazine, choosing only a few images and texts, which are left scattered on the blank pages. A readymade strategy that redefines the publication’s content and gives rise to new meanings. A similar effect is generated by Guillermo Kuitca’s work based on one of the fundamental spatial representation systems. From the convergence of different maps, the painter composes an imaginary landscape. A skein of borders and geographic accidents that generate a sense of estrangement, where the recognizable aspect is the opportunity for loss, and thus the construction of new territories and narratives with which to inhabit them.

Is it possible to copy the illusive, the invisible, the ineffable?  The possible affirmation destabilizes the patterns of recognition and leads to intimate attention. These artistic objects do not seem to be at the service of dialectical communication, as the experience provided by the work will arise from an introspection that ventures into the absence of form. Mirtha Dermisache, for example, spent close to half a century building a body of work centered on the production of illegible writing. She made visible the impossibility that underlies every written message, the shape of uncommunication. The references and the meanings disintegrate in her asemic writing, her forms are both the spelling and mimicry of a letter, a book or a tabloid. Ricardo Carreira, for his part, approached language, in both discourse and form, as a matter of experimentation. While writing by means of the procedure he calls “dishabituation”, each poem unfolds the particles of the text and from repetition, and the multiplier effects of iteration, meaning is rearticulated, and new elements are overprinted on recognizable scenarios. Despite their abstract appearance, Jimena Croceri’s papers and sculptures do not abandon the aspect of representative recording and, in fact, reach their own limits. Her works seek to capture forms naturally produced by the medium to which the matter is exposed. In this case, what we see is a drawing produced by the flow of coastal currents on paper. The resulting work is, in a full sense, a copy, a record of this contact between water and paper, a new presentation of this particular way in which nature creates, by itself. In the work of Martín Legón, in contrast, poetry and bureaucracy converge in an installation that thematizes a constitutive situation for every subject: the impossibility of appropriating our experience of the world. Racks and cardboard boxes, some full of innocuous objects, others empty, make up the image of a funerary monument, one that symbolizes our phenomenological existence.

Copy as irreverence, as collective authorship, as a palimpsest but also as a means of transport and confluence of languages appears in each of the 49 works shown in this exhibition. Hudinilson Jr. used to say that the photocopier was “a machine that makes mutant copies”; the components of Un lento venir viniendo. Capítulo II seem to explore this conception and discover instabilities between forms and meanings.

Artist list​

Josefina Alen
Sergio Avello e Daniel Joglar
Batato Barea
Diego Bianchi
Erica Bohm
Juan José Cambre
Ricardo Carreira
Paula Castro
Jimena Croceri
Beto de Volder
Claudia Del Río
Mirtha Dermisache
Lucas Di Pascuale
Alfredo Dufour
Gabriela Forcadell
Alberto Goldenstein
Hoco Huoc
Guillermo Kuitca
Fernanda Laguna
David Lamelas
Estefania Landesmann
Martín Legón
Lux Lindner
Lucrecia Lionti
Mariana López
Fabián Marcaccio
Nicolás Martella
e Emanuel Fernández 
Miguel Mitlag
Alejandro Montaldo
Ariel Mora
Eduardo Navarro
Andrea Ostera
Máximo Pedraza
Marcelo Pombo
Ramiro Quesada Pons
Dudu Quintanilha
Marisa Rubio
Mariela Scafati
Rosana Schoijett
Alan Martín Segal
Marcela Sinclair
Pablo Suárez
Cecilia Szalkowicz
e Gastón Pérsico
Florencia Vecino
Santiago Villanueva




Mercado Livre


Instituto Tomie Ohtake 



João Paulo Siqueira Lopes


Fernando Ticoulat


Marina Dias Teixeira


Sofia Gravina


Yasmin Abdalla


Helena Kimie Gimenes


Mariano Mayer


Renato Mauricio Fumero



Erica Bohm, Coordination









Delmiro Mendez E. Hijo




Catalina Bergues

Patricia Davanzzo


Pool de Comunicação


Oksman Advocacia


Camera Press






Ricardo Ohtake


Advisory Board

Antonio Meyer

Aurea Vieira

Fernando Morais

Fernando Shimidt

João Vieira da Costa

Roberto Miranda de Lima

Walter Appel


Fiscal Board

Miguel Gutierrez

Patricia Verderesi

Sérgio Miyazaki



Antonio Meyer

Aurea Vieira

Fernando Morais

Fernando Shimidt

Flavia Almeida

Jandaraci Araujo

João Vieira da Costa

Marlui Miranda

Renata Motta

Roberto Miranda de Lima

Tito Enrique da Silva Neto

Walter Appel


Research and Curatorship

Paulo Miyada, Chief Curator


Culture and Participation

Carol Tonetti, Director


Exhibition and Project Production

Vitoria Arruda, Director


Administration and Institutional Development

Gabriela Moulin, Director


Graphic design

Vitor Cesar

Felipe Carnevalli de Brot


Exhibition design

Lucas Fabrizzio