Demolish Buenos Aires is an exhibition produced by Ignacio Unrrein in collaboration with Santiago Bengolea that proposes an installation that identifies the party walls that emerge after the demolition process of the buildings in Buenos Aires. They reveal, through the materials composing them, patterns of colors and shapes. They are a testimony of other life, traces of past moments, vestiges of frozen times, ordinary and anonymous relics whose hours are endless. The architectural patterns evidence the scenes of the styles that advanced avidly through the different decades, the political, social and economic processes that determine the supremacy of the materials, merged with personal influences that gradually mutate and overlap through time.

The exhibition is presented by Alicia Agustín, in the context of the exhibition #AtlasOfCommoning: curated by ARCH+ and Stefan Gruber, sponsored by IFA (Institut für Auslandsbeziehungen), which arrives at the MARQ from October to December, and as part of the ongoing activities of the #festiatlascomun.

In this presentation, the performative artist Alicia Agustín confronts the debt conception, facing the issue that prevents the act of commoning; the debt crisis and the morality imposed by the debt economy, which ultimately leads to individualization and the opposite of a solidarity-based support system.

The Gropius Chair (DAAD, FADU-UBA) is in charge of turning the discussion topics brought by the Atlas of Commoning to the difference and the contemporary complexity of the territory where the exhibition lands from situated thinking.

The city is not over nothing (LCNESLN) is an exhibition curated by Jardines Subterráneos that proposes the suspension of a concrete piece by means of a water counterweight. A portion of the material with which almost all of the swamp, Buenos Aires, is built is revealed and in the air.

LCNESLN exposes the piece to new observations and drifts. The mold of that which was underground is now above. Raising a well, a body that now weighs and counterweights. This useless piece makes, during its stay in
Disponible, an unthinkable journey to its final disposal -at the end of the
exhibition- as a coastal landfill along with its debris peers.

The Critical Spatial Practices Cycle (PEC) is an exhibition curated by the Spatial Cooperative that approaches the different scales, media and experiences that address critical spatial practices, which seek to create new engagements with rur-urban processes and the politicization of space. These meetings are attended by individuals, groups, organizations and projects that research and practice strategies based on both artistic and analytical methods of registration, mapping and analysis that resist the technocratic and neoliberal rhetoric that today produces public space and the corporate city.

The fourth edition of Disponible was the setting for the Pidgeon Audio Visual series, a collection of architecture talks recorded on cassettes and created by Monica Pidgeon.
Florencia Álvarez Pacheco, research architect, focused the series on the link between education and the publishing industry.

The architects speak for themselves: The talks and seminars of Reyner Banham, Zaha Hadid, Lawrence Halprin, Kisho Kurokawa, Esther, McCoy, Cedric Price, Alison & Peter Smithson, James Stirling and Anne Tyng were translated and dubbed by Gustavo Dieguez, Ana Raskovsky, Lucas Gilardi, Maria Rodrigues Mori, Magdalena Tagliabue, Pablo Bernard, Roberto Lombardi, Juan Pablo Vacas and Leticia Virguez Lalli.

The studio A77, formed by architects Gustavo Diéguez and Lucas Gilardi, presents in this exhibition the Manifestation Module as an expression of a critique of the new Urban Code.

“The writer of the new urban code regrets his involvement, but also decides to expose his five convictions about life for Buenos Aires”

In the second edition of Disponible, the Somos Nu studio and Silvio Tinello explored the design of agricultural and bioplastic materials.

For the installation, Silvio Tinello created a bank of bio-manufactured samples. Somos nu studio was in charge of developing the museological format and of building the appropriate furniture to display the biological process.

In the first edition of Disponible, Arturo Peruzzotti designed a lighting installation with strips of light: a bee hive took over the space and made it its own.