Random Institute is an extension of what a contemporary art institution can be, that is to say, truly unbothered by rules and bureaucracy. Ultimately, it brings together & curatorial and publishing activities.

Since March 2016, Random Institute is running the curatorial program for Despacio in San José, Costa Rica.
The best color is transparency.
The best defense is a good offense.
Untold Stories
Shown
Anytime
Anywhere

Disappearing Museums

Ongoing: Started on Saturday, January 28, 2017
65.3375011000
-15.8522764000
Kunsthalle Tropical

Life-sized “drafts” of museum buildings will be realized in three dimensions and installed in the remote Icelandic desert. These sculptural blueprints are composed of salt core, a biodegradable material that naturally dissolves when it comes into contact with water.

It's unpredictable how much rain a desert sees, and this unpredictability will result in beauty, slowly dissolving the structures.

Thoughts
Information

Thoughts about this project appear, change, and disappear constantly. Here is a snapshot of our most recent thoughts:

WHAT ARE THE DISAPPEARING MUSEUMS?

A study in architecture, ephemerality, and locality, the Disappearing Museums project examines environments, both built and natural, through art. Essentially life-sized “drafts” of select buildings, the Disappearing Museums themselves are realized in three dimensions and unexpectedly installed in the remote Icelandic desert. These sculptural blueprints are composed of salt core, a biodegradable material that naturally dissolves when exposed to rain, and as a result, the project aims to decontextualize and re-evaluate architecture as we traditionally know and understand it. In other words, the Disappearing Museums, which are fleeting and displaced, contrast with the sturdy, integrated, and permanent structures of contemporary society. The viewer is thus asked to reflect on the importance of architecture in daily life, as well as to consider ingrained expectations for--and dependence on--such buildings and their surroundings.

Although the project touches on a number of themes, a key characteristic of the Disappearing Museums is their focus on the intrinsically ephemeral, even sculpture-like, nature of infrastructure. Guaranteed to degrade, the drafts demonstrate, albeit in sped-up fashion, the inevitable decline and eventual deterioration of the constructed environment. In this way, evolution and the passage of time are brought to the forefront; the Disappearing Museums poetically point not only to the momentariness of humanity but also to the longevity of nature.

The Disappearing Museums’ unlikely installation in the desolate wilderness of Iceland is also central to the project. An extreme contrast to the buildings’ likely urban environments, this desert locale pointedly draws attention to all that is absent, most notably: communities, infrastructure, and other buildings. The absence of these things at the installation site is further amplified by the presence of the viewer, who, having traveled to this secluded location, also finds him or herself profoundly displaced.

WHY TEMPORARY BUILDINGS?

"The ideal building has three elements; it is sturdy, useful, and beautiful."

In his paramount work, De architectura, the Roman architect Vitruvius identifies durability – or sturdiness – as one of the three key elements that define an ideal building. The Disappearing Museums project explores the longstanding human impulse to realize indestructible structures, and it explicitly subverts this very ideal. The promised decline of the three-dimensional designs upon interaction with weather is central to the project’s conception.

Here, the inevitability of atrophy is prized rather than evaded, offering fresh perspective not only on the objectives of architecture but also on its innate nature. Likewise, as the salt core degrades, the structures function symbolically, pointing to the ephemerality of human life. In these ways and more, the Disappearing Museums project attempts to demonstrate the oft-overlooked significance of the incomplete and the transitory.

WHY NON-FUNCTIONAL ARCHITECTURE?

"Architecture shares the narrative qualities of sculpture at an essential level; both transform the relationship between object and ground into a poetic expression."
Thom Mayne, founder of Morphosis Architects

A dual responsibility to both functionality and aesthetics is indeed at the heart of an architect’s practice. To further explore these qualities, and in particular the artistic elements of a building, the Disappearing Museums project renders given structures non-functional and essentially sculptural. Uninhabitable and incomplete, the Disappearing Museums are in no way utilitarian and are thus aligned more closely to our understanding of the arts than to design, technology, or science.

By thus converting architecture into art, the Disappearing Museums project explores the potential of buildings, structures, and social interaction in a context free of limitations, rules, and common thought patterns. In this unique environment, which might be considered something approaching a utopia, creativity is fostered, enlightened perspectives adapted, and critical discourse encouraged.

WHY EXTENDING THE BLUEPRINTS?

Through the means of an art installation, the Disappearing Museums project offers a new, experimental, and sensory space for designing. The limitlessness of the vast Icelandic desert imposes little restrictions, and traditional pen-to-paper blueprints or scaled-down models are, in the context of the Disappearing Museums project, traded in for more experiential and lifelike renderings.

Translated into three dimensions, yet not fully realized, these building plans are arguably more complete versions of their two-dimensional iterations, as well as more accessible to “readers” of all backgrounds. At the same time, their incomplete states continue to foster creativity, imagination, and ideas.

Neither material nor intangible, neither shapeless nor fully formed, the architect’s draft lies somewhere between a building and the idea of one. By realizing a series of blueprints in salt core, the Disappearing Museums project allows such drafts to briefly occupy a fragment of time and space.

WHY MUSEUMS?

The Disappearing Museums project functions as commentary on the history of museums and their various incarnations in the 21st century. Museums today largely sustain centuries-old values relating to the care, preservation, presentation, and interpretation of cultural artifacts and collections.

In the context of the Disappearing Museums, however, these fundamental responsibilities are released, rendering the time-honored notion of a museum essentially obsolete. Popular conceptions of a museum are also undercut by the structures’ extreme ephemerality, isolation, and weightlessness. All of this is to demonstrate – and ultimately question – the rigid, arguably anachronistic definition of a museum that continues to be accepted by contemporary society.

WHY IN ICELAND?

The Disappearing Museums project is specifically conceived as an installation for the uninhabited landscape of Iceland. In part a nod to Iceland’s rich architectural history, the project demonstrates a deep respect for the nation’s tradition of harmonious relationships between nature and the built environment (the development of grass-and-turf-covered houses comes to mind, for instance). Moreover, the project embraces the unpredictability of the Icelandic weather and the element of chance it introduces into the works’ atrophy.

On a more social and political level, the appearance--and disappearance--of the salt core installations in unspoiled nature demonstrates a harmless approach to building, a particularly striking action against today’s backdrop of global overdevelopment.

Thoughts by Sandino Scheidegger & Lindsey Cash

Who knows when it will finally take place? Good things take time, and we are in no hurry.

Consider Yourself Invited

ArchivedHappened in June 2015
46.8086283000
7.1560869000
Belluard Festival
30.4787085000
-8.8769102000
Taroudant
43.2967623000
5.3608073000
MuCEM

Two North African artists were invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting points for a story that isn’t afraid to touch upon our collective prejudices and the controversial question looming behind its creation:

Will the visiting artist overstay his visa after his talk to start a new life in Switzerland?

Thoughts
Information

Thoughts about Mohamed Arejdal: Français / Deutsch
Thoughts about Mohammed Laouli: Français / Deutsch


Presenting both of the following scenarios will allow Belluard Festival visitors to experience two different possible outcomes that reflect upon the realities of border crossing.

SCENARIO 1
An artist was invited to Switzerland, but he did not fulfill the visa requirements.

SCENARIO 2
An artist was invited to Switzerland, and his visa application was accepted.

For Scenario 2, an artist talk will be held on Sunday, June 28th at 8pm titled:


ART PRACTICE BEYOND THE FENCE
or why the artist may overstay his visa to start a new life after this talk.

In addition to the artist talk, both of these scenarios will be incorporated into separate but identical exhibition spaces at the Belluard Festival, where each artist’s body of work is exposed in documentary form, and the spectator is confronted with the curatorial underpinning for each given situation.

Upon entering the festival, spectators are assigned a number, the significance of which will be revealed once inside the two exhibition spaces. Each space will unveil a number leading to a different outcome based on the status of the artists’ visa applications.

In the rejected artist’s space, the selected number will send a visitor to North Africa to the artist talk of Mohamed Arejdal, held in his home.

In the accepted artist’s space, the holder of the selected number will be asked to host the above mentioned artist talk with Mohammed Laouli in their own home, taking into account both the political sensitivity of the project’s underlying questions and the artist’s own motivations.

Borders are plural, so any project dealing with the questions they raise must be too.

Consider Yourself Invited takes place June 25-28 in Fribourg. For opening times and the exact address, see Belluard Bollwerk International. For live updates see the FB event.

The artist talk with Mohammed Laouli will take place on Sunday, June 28th at 8pm in a private apartment in Fribourg.


DOWNLOAD
Thoughts about Arejdal: Français / Deutsch
Thoughts about Laouli: Français / Deutsch
Biographies: Arejdal / Laouli
Press: FN Newspaper / Surprise Magazine / La Liberté


CREDITS
Documentary pictures by Juliette Chrétien. Additional installation views by Youssef Ouchra, Javier Melian, Francisco Alejandro, Chourouk Hriech, Aziz Nadif, Mohssin Harraki, and Ly Mamadou.

Texts about Arejdal by Valentine Umansky, about Laouli by Sophie Lapalu, and about the project by Sandino Scheidegger in collaboration with Jeremy Cohen. German translations by Anja Dirk.


THANKS
For sharing your insights on the Moroccan contemporary art world: Siham Halli, Dr. Mehdi Zouak, Bérénice Saliou, Younes Rahmoun, Mohammed Laouli, Mohamed Arejdal, Maud Houss, Touda Bouanani, Randa Maroufi, Hassan Quazzani, Mohamed Fariji, Léa Morin, and Marie Moignard.


SUPPORT
This project is a Random Institute production for the Belluard Bollwerk International, supported by Migros Kulturprozent and Kanton Fribourg. The on-site display is supported by Ernst & Olga Gubler-Hablützel.

Family Affair in Southwest China

ArchivedHappened in December 2014
Show Map Show Images
Yunnan Province
ProductionResearch
23.9989250000
102.4671040000
Yunnan Province

Amid China's tumultuous dash to become rich, one man's photographs of families posing with their worldly possessions will soon seem like records from a distant era. Huang Qingjun has spent nearly a decade travelling to remote parts of China to persuade people, who in some cases have never been photographed, to carry outside all their household goods and pose for him.

Who says we live in a materialistic age?

Thoughts
Information

The results offer glimpses into the utilitarian lives of millions of ordinary Chinese who, at first glance, appear not to have been swept up by the same modernization that has seen hundreds of millions of others leave for the cities.

More about Qingjun longterm project on BBC News, The Guardian, and Le Temps.

Huang Qingjun, born in 1971, joined the Chinese Photographers’ Association in 1999. His works have been exhibited at 798 Photo Gallery, Beijing, China (2013); Photoquai Photography Biennial, Paris (2013); Conceptual Renewal-A Brief History of Chinese Contemporary Photographic Art, Beijing, China (2013); National Communication Museum, Germany (2007); National Train Museum, Nuremberg, Germany (2006); and Steam Locomotive Photo Exhibition in Beijing Dazhong Photo Gallery (2001).

His photographs have also been published and reported on by many media outlets, including BBC, The New York Times, Guardian Weekly, GEO, CCTV-2, CCTV-9, Australian Broadcasting Corporation, and Bloomberg News.

More details can be found on Huang Qingjun's website.

The production of Huang Qingjun's long term project Family Stuff takes place all over China. For the production of two photographs that we helped realize, we travelled with Huang Qingjun around the Yunnan Province in Southwest China from December 27th through January 5th, 201

Can I Take a Message?

ArchivedHappened in December 2013
14.9166610000
120.7666552000
Calumpit

Individuals were unwittingly implicated in this provocative project, which facilitated direct interaction between First World inhabitants and a low-wage worker in Southeast Asia. The project thus involved outsourcing, at a rate of three dollars per day, all of the curators’ incoming calls to a Manila-based woman named Chilette, who was also commissioned to document her daily routine when she was not answering the phone.

Thoughts
Information

Upon answering, Chilette not only announced that she would gladly forward all messages, but she also revealed—by reading from a script written by the curators—her low daily rate.

Chilette then offered to either engage in a conversation about the project with the surprised caller or perform additional work at the caller’s request (anything from performing research to creating artworks for artists on the other end of the line), all on the curators’ dime.

The protocols of the calls have not been published so far.

The project took place from December 19th to 27th, 2014.

Without the Viewer

ArchivedHappened in September 2012
Show Map Show Images
Atlantic
ResearchBook
34.4959552000
-41.4133443000
Atlantic

A book that starts with 'This moment will slip into the back of your mind. It may remain there forever if you are smart enough' and ends with 'Let's start with a happy ending'. Everything in between are random thoughts that crossed our minds and we failed to forget after we returned from the crossing of the Atlantic on the Hanjin Palermo.

The book is out of print, but can be found at the Swiss National Library

Thoughts
Information

Download the book Without the Viewer

The majority of the thinkers who contributed to this book did so unintentionally. They are all unacknowledged in the body of the text. This reflects the nature of thoughts, often stripped of authorship and appearing out of nowhere. Or, to put it like David Shields, whose book “Reality Hunger” has been an inspiration and source of thoughts: “I am trying to regain a freedom that writers from Montaigne to Burroughs took for granted and that we have lost. Your uncertainty about whose words you’ve just read is not a bug but a feature.”

@Phil_Hanley (144), @emilianovaldes (78), Alain de Botton (31, 139), Andrew O'Hehir (39), Anonymos White House Aide (34), Anthony Vidler (79), Apocalypse Now (137), Arthur Schnitzler (94), Boris Groys (47), Boris Vian (106), Brian Eno (114), Camus (86), Carolyn Christov-Bakargiev (81), Charles Olson (95), D'Agata (42), da Vinci (36), David Shields (16, 44, 89, 90, 93, 109, 118), E. M. Cioran (127), Ernst Jünger (65), Florian Graf (150), G. W. Bush (50), Gallagher (54), Geoffrey O`Brian (100), Georg Trakl (124), Guy Debord (74, 75, 129, 142), Harry S. Truman (125), Holland Cotter (133), Honoré Daumier (140), Ingeborg Bachmann (110, 138), Ingmar Bergman (30), J.G. Ballard (17), Jacques Derrida (68), Joachim Koester (29), Joan Didion (145), John Milton (143), Judit Bodor (72), Ken Kesey (115), László Kardos (28), Lisa Page (91), Lopate (19), Lorenzo Prendini (148), Lucy Lippard (13, 22, 23), Malcolm McLowry (117), Marcel Broodthaers (134), Marlen Haushofer (85, 104), Martha Nussbaum (102), Martin Suter (147), McElwee (82), Michael Moore (87), N.R.Kleinfield (53), Niels van Maanen (46), Nietzsche (37), Paul D. Miller (56), Paul Éluard (49), Paul McCarthy about Vanessa Beecroft (71), Peter Mountford (57), Plato (113), Pope (149), Proust (88), R. P. Blackmur (111), Raban (119), Raphael Gygax (35, 97), Robin Blake (63), Roland Barthes (70), Sarah Silverman (51), Shakespeare (146), Simic (26), Stephan Pashov (24), Steven King (103), The Daily Waster (130), Thomas Bernhard (121), Unknown (73, 101, 128, 151), Werner Herzog (112), and Yoko Ono (45).

The publication has 212 pages. The publishing house 'Distressed Securities & Books Ltd.' is a company incorporated on May 21, 2010, under the laws of Bermuda, with limited liability. Its registered office is located at DSB Hedge Fund c/o The Bank of Bermuda Ltd., 9 Front Street, Hamilton HM 11, Bermuda. The publisher's investment objective is to achieve below-average returns from event driven investments in art books that are not correlated with the S&P 500.

The book was completed on September 13, 2012. The book is out of print. A copy can be found in the Swiss National Library.

Or just download the book here.
Sandino ScheideggerJohanna SchaibleBookRamon StrickerJean-Dominique NgankamHoiko SchutterVinzenz MeynerRenaud LodaSebastien VerdonMarion QuartierLaurentino RodriguezNicola RuffoSimone HuserCarlos GonzalezAndreas WagnerSascha LinglingMonika StalderAnnika EbneterHans WirzChristian MesenhollLukas ErardRenato AebiLilian KlosePhillipp SiegenthalerChristophe KuenzlerMarcel MeuryEmanuel SenAnna ErnstJrene RolliRomano StrebelBarbara StreuliStephan AebischerToby MatthiesenAnna RhynEli RhynLorenz HuserMagdalena OberliMichael BaeriswylSimon GrossenbacherJulia WeissDiana Abi KhalilMarco StrickerArnim MahlkeFabian NiklausLuca MüllerResearchLindsey CashMarlen HaushoferMarcel BroodthaersMartha NussbaumMalcolm McLowryMartin SuterMcElweeMichael MooreN.R.KleinfieldNiels van MaanenNietzschePaul D. MillerPaul ÉluardPaul McCarthyPeter MountfordPlatoPopeProustR. P. BlackmurRabanRobin BlakeRoland BarthesSarah SilvermanShakespeareSimicStephan PashovSteven KingThe Daily WasterThomas BernhardWerner HerzogYoko OnoLucy LippardLorenzo PrendiniLopateLisa PageLászló KardosKen KeseyJudit BodorJohn MiltonJoan DidionJoachim KoesterJacques DerridaJ.G. BallardIngmar BergmannIngeborg BachmannHonoré DaumierHolland CotterHarry S. TrumanGuy DebordGeorg TraklGeoffrey O'BrianGallagherG.W. BushFlorian GrafErnst JüngerE. M. CioranDavid Shieldsda VinciD'AgataCharles OlsonCarolyn Christov-BakargievCamusBrian EnoBoris VianArthur SchnitzlerAnthony VidlerBoris GroysAlain de BottonEmiliano ValdesPhil HanleyRaphael GygaxAndrew O'HehirAtlas StudioSofia MariscalLinda TeggMarso GaleríaExhibitionYoan CapoteGwenael BelangerMarina MagroZilvinas KempinasNino BaumgartnerLithuanian EmbassyItzel PeralesAnuar MaauadAlejandro CarvajalKaryn OlivierSandro StübiAndrew MooreTarek Abu HagebBonadea CoconJonas EtterIvan EbelSolomia ZoumarasTobin TaxiEric MischlerWian BawiLiva KupčaZane OnckuleJuliana SmithIvo GretenerPro HelvetiaCity of BernKanton BernAlain JenzerXymna EngelIeva SauliteElectronic Text + Textiles ResidenciesMarks BlondArthur de PuryEmanuel GeisserPerformanceMiriam StraussNadim JarrarAngela WittwerKommando TrashJacques et BrigitteCamille ZürcherBurgergemeinde BernNadine StrubEric VerdonRaphael EtterClaudia ComteNoemi ReislePatrick UrwylerSamuel FrancoisMartinka KremeckovaRoland NussbaumerFabian BoschungGuillaume PiletAthene GaliciadisCharlotte HerzigRemy PiaMilieu ArtspaceOlaf-Asteson HausPhilipp StrahmAnonymous ArtistArt BrutCamille PellauxJoël Luc CachelinHKBBianca PedrinaSarah HugentoblerMathieu AckermannJon MerzChristoph EisenringKyra BaldererLivia Di GiovannaSybill HäusermannKatja JugAnselm StalderChristof LötscherHans Rudolf ReustOrlando GuierStudienstiftung SchweizSodiumMatthias WilliAndreas EgliChristiane BüntgenDeimantas NarkeviciusYvon ChabrowskiMark DivoBas Jan AderHanna LauerUlf BüntgenFoodMagdalena JukerLeila HincelinAziz TemimiMaurice Maggichmara.rosinkeFlorina MinderBenjamin StöckliSelina FreiSimon ErnstDavid PestalozziJuliette ChrétienSocialSamusocial de ParisNele DechmannGuido van der WerveAgnieszka SosnowskaGioia dal MolinState Government VictoriaArts VictoriaAbuConcertZüblin FiresafeKatja BrunnerNiklaus MettlerManuel SuterBrian MastMatthias EggerLorenz GurtnerAnja SchoriLukas WilleThe MotherlandsMatthias JostDow Jones and the NikkeisThomas MoorAnabel SarabiSarina ScheideggerNora HalpernFri-SonZara NydeggerBrigitte BoessAndreas GrossePeter HuberNaima BärlocherPartyLeticia ParenteAndré ParenteMariann OppligerSophie HoferSaunaClaudia MouginBertrand GadenneFilippo MontalbanoDavid HorvitzUjazdowski CastleAnna WantuchRoad TripAmaury BergerTimothy EdserRéne StricklerProductionVerena DietzeKarin BachmannJonas FehrRamon WilliRemo ZimmerliRebekka SchaererHyperwerkHanna RocchiETH Flying Machine ArenaChristian FreiAaron DerungsMalin BaumannSimon WandelerSam BuchliNathanael RussellJonas BechsteinHeidi KöpferMaria TrenkelRebecca KunzDaniel vom KellerLuzia RinkflymotionsUlrich BruppacherLi TavorSimon BurkhalterNicola DauwalderMichel WinterbergGil PellatonEugen BisigSibylla GigerAda AvetistDavid WidmerIna MertensAline JuchlerYondon OtgonbayarOdgerel OdonchimedMareike GünscheDavaanyam DelgerjargalBadruugan NaranzunAriunaa TserenpilAdiyabazar ChadraabalShinee ErdenbatSussette MartinezGregor PodnarNicky RayBernard SchützeChristopher CozierThylacineHyperwerk BaselChris LupoNewspaperFrancoise CaracoDaniel BjörnssonKarin KurzmeyerUnnar ÖrnZHDKAnja MajerBarbara HauserArnhildur PalmadottirHelgabjorg SigardardottirJennifer FlumeOdinn SigurdssonHikingMatthias VollmerRosalia BlumDidier CrepeyValeria StuckiHEADCécilia Xin YangScreeningChilette Ann LalogOutsourcingHudspeth County CourthouseBojan MartinLena ZinnikerUrezza CaviezelJames Lee ByarsGerhard LischkaKarin MingerHan LoAnnina MachazMelanie WirzJared MuraltManuel ScheiwillerSaskia EdensNils Amadeus LangeMira KandathilIvan BlagajcevicMatthew CianfraniFlorence JungAlexandra DelageOlivier AubertinIan G.C. WhiteCharly Le PoissonnierTheaterStrangersAlexis Coco DupontJessica BrasslerAlma EggerSluiceAlberto DiazChen SerfatyOrlando DiazDilara ErbayAhmet BugdayciMally SustickMolly O'BrianCharlotte ColmantLonnie StantonHilary BrownBriana BrownSarah LifsonNola SmithMarco AntoniniStephanie TheodoreKarl EnglandCharlie LevineBen StreetMonia SbouaiLucia Ruiz de InfanteAli Ekber ÇelikJohan AchermannVladimir BessonAngela JimenezElizaveta KonovalovaTarissan AnnaAlexandra GoullierMarion RingevalMathieu CénacGiulia MagnaniDominique MeierMartin Furler BassandDominik WensauerJan MarckhoffRoland FrühFlorian Schmidt-GabainChristoph SchifferliStefan BiglerStefan BumbacherHumberto GollabehUrs SteinerDania MichelCory ArcangelPeles EmpireSelina Grüter + Michèle GrafAlois GodinatRichard LongFederico HerreroKarin LehmannSan KellerAlejandro CesarcoSlavs and TartarsLibraryLuís SilvaJoão MourãoKunsthalle LissabonJoana EscovalRobert FrankTanzhaus ZürichMaria PetschnigDaniel HellmannJamie DiamondMarie-Caroline HominalMica SigourneyMarc StreitJiri KovandaAntonio Da SilvaHuang QingjunJeremy CohenMohamed ArejdalMohammed LaouliValentine UmanskySophie LapaluMatthias RaffelsieperJanosch PerlerMarco Andrea MagniEva & Franco MattesLamia JoreigeJana KapelováMarco AntoniniJiří SkalaBen Thorp BrownSamuel LeuenbergerKodoji PressBook LaunchSchool of Visual ArtsLectureRobert Barryto be announcedJulien PrévieuxSophie BarbaschBarbara HoffmannFrancis AlÿsDavid ClaerboutDouglas GordonGary HillPierre HuygheJoan JonasIsaac JulienWilliam KentridgePaul McCarthyPipilotti RistAnri SalaDiego FournierPrinted MatterNina Beier & Marie LundAnna HugoSwen RenaultNicolás RobbioIván ArgoteFayçal BaghricheJay ChungJulian CharrièreSigurdur GudmundssonAdrian MelisHans EijkelboomBethan HuwsCarey YoungDiego Arias AschJürgen KrauseJens RischBen LongJens SundheimSasha KurmazRonald ReyesHabacuc Guillermo Vargas Paulette PenjeJavier CalvoCamille LaurellieteamMikko KuorinkiThomas GeigerYann VandermeRoger MunozBenvenuto ChavajayMarton RobinsonNicola TrezziSabrina Röthlisberger BelkacemAchraf TouloubAlfredo AcetoAlison KuoClifford E. BruckmannJuan BetancurthRagnheidur KaradottirSimon MullanThomas MailaenderMark Pezinger VerlagErnesto Jara VargasAlberto FontResidencyÁlvaro Marenco MarrocchiRosemary MedinaAyami AwazuharaMatthias DolderChus MartínezStéphanie SerraNicolas LeubaAníbal LópezYaxs FoundationTamara DíazCentral American BiennialCrack RodriguezAna Lucrecia MuñozAníbal CatalánAudrey HoubenDiego GiannettoniErica Muralles HazbunJason MenaJorge LinaresKevin BaltazarMario Alberto López CruzNuria GüellSergio RojasProyecto 44Maria José GuevaraHugo QuintoJennifer PaizNora PérezPaulina ZamoraJorge de LeónPablo XonáCarolina ArroyoLeonel JuracánEsperanza de LéonLeo HoffmannC.R.A.C.artSchandra MadhaZoe Sans-Arcidet-LacourtGabriel RodriguezHanne LippardRonald MoránNaufus Ramírez-FigueroaAdán VallecilloAbigail ReyesAna AlensoDeborah CastilloMichele Di MennaPaula PiedraCorina HeinTercerunquintoThe Pizza Suicide ClubEleanore PientaDafna MaimonAude LevèreWalterio IrahetaTeresa MargollesRegina José GalindoAlfredo JaarLuis CamnitzerSol CaleroAlejandro Almanza PeredaAllora & CalzadillaRivane NeuenschwanderYoshua OkónLiliana PorterMelissa GuevaraAlejandro de la GuerraJonathan HarkerDonna ConlonGabriel SierraMarlena WaldthausenPhotographyZelia ZadraDino RealLutz GegnerCarlos FernándezPaula Kupfer
Made in Switzerland by Foreigners