Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: 7 pm

Admission: free

We will celebrate the opening of TONO 2024 with a cocktail from Yola Mezcal at Laboratorio Arte Alameda with the exhibition Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024, co-produced by TONO and Serpentine Arts Technologies.

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: 6 pm

Admission: free

This performance by Emilija Škarnulytė is a musical activation of her video installation at Memorial in collaboration with Ezeta. Embodying the mermaid Æqualia in the video, Emilija sings the sounds of the river. The video follows Emilija as she swims along the 6 km stretch where the Solimões River and the Negroríos River-which are different in colour, composition and temperature-meet in a fractal spiral. They meet in a scientific and mystical fractal spiral.

The river basin is home to the Amazon pink dolphins, known locally as botos. Gliding alongside the botos, the artist in her chimera form exists at the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: 6:30 pm

Entrance: Free

TONO x PAMM Selects is a screening program organized by TONO and the Pérez Art Museum Miami (PAMM). The thirteen works featured in TONO x PAMM Selects explore how bodies transform across virtual, natural, and supernatural worlds. The works will be available to stream on PAMMTV from March 14 through October 24.

From the atomic to the cosmic and the cell to the pixel, the videos in this program explore processes of metamorphosis. From creatures constructed out of mud and bodies transformed through science to digital avatars and bodies manipulated through rituals, the figures in these videos burst a discrete definition of a body. Here, bodies are material vessels as much as they are objects for imagination and groups. A body, from a river to a digital stream, is constantly in a state of flux.

Spanning two to twenty-minute videos, the program brings together work by Biarritzzz, Danielle Brathwaite-Shirley, Seba Calfuqueo, Leo Castañeda, Colectivo Ixqcrear, Cristóbal Cea, Simon(e) Jaikiriuma Paetau and Carlos Motta, Edny Jean Joseph, (La)Horde, Agnes Questionmark, and Tania Ximena.

Program:

Agnes Questionmark, Draco Piscis, 2023; 1 min

Agnes Question Mark, CHM13hTERT, 2023; 4 min, 36 sec

Seba Calfuqueo, Kowkülen (Liquid Being), 2020; 3 min, 28 sec

Colectivo Ixqcrear, La fuerza que emancipa al cuerpo, 2022; 6 min, 56 sec

Tania Ximena, Devenir, 2021; 9 min, 38 sec

Leo Castañeda, Camoflux Mangrove Biome, 2023; 6 min, 10 sec

Biarritzzz, Onde Está Mymye Mastoiagnne?, 2023, 16 min, 33 sec

Danielle Brathwaite-Shirley, Resurrection Pro League, 2020; 15 min, 45 sec

Cristóbal Cea, Gran Cahuín, 2023; 2 min

Simon(e) Jaikiriuma Paetau and Carlos Motta, Mourning Stage, 2022; 16 min, 39 sec

Edny Jean Joseph, iBrooks, 2022; 2 min

(La)Horde, Cultes, 2019; 15 min, 32 sec

more info here

Photo: (La)Horde, Cultes, 2019; 15 min, 32 sec

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: 5-9 pm

Admission: free

Río del Río Concierto #3 is a musical intervention in Tania Ximena’s exhibition Río de Niebla, Río de Adobe, Río de Sangre.

This exhibition stems from Tania Ximena’s research on the decrease in volume of Jamapa, Mexico’s last living glacier, located on top of the Citlaltépetl volcano, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of expressing in a poetic way the voice of the natural elements that make up this ice giant that resists disappearing but that no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Music Performers:

Juan Pablo Villegas

Carlos Edelmiro

Tania Ximena

Guillermo Ontiveros

More info about the exhibition

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Photo: Joshua Serafin, VOID Myth Makers (performance), 2023

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

Río de Niebla, Río de Adobe, Río de Sangre is an exhibition by Tania Ximena presented by the Secretaría de Cultura del Gobierno de México and the Instituto Nacional de Bellas Artes y Literatura (Inbal), through Ex Teresa Arte Actual, curated by Michel Blancsubé. The exhibition opened in November and closes on March 17th.

This exhibition arises from Tania Ximena’s research into the decrease in volume of the Jamapa, the last living glacier in Mexico, located at the summit of the volcano Citlaltépetl, better known as Pico de Orizaba, in Veracruz.

Since 2015, the artist has recorded this thick layer of ice with the intention of poetically expressing the voice of the natural elements that make up this ice giant, which resists disappearing but no longer feeds the river of the same name as the glacier.

As a result, Tania Ximena considers herself a conscious observer of her time, similar to a seismograph. As part of her field research, she also assumes the role of an ethnologist who ventures into the field to explore a geographical region. In this way, she shares her life with the local community, which includes individuals of Afro-mestizo descent.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: 7 pm

Admission: free

Tania Ximena will talk with curator Marisela Castro on the occasion of her exhibition at Llano and her performance and exhibition at Ex Teresa Arte Actual. This event is organized by Llano.

Photo: Tania Ximena, Río de Niebla, Río de Adobe, Río de Sangre, 2023

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: 6 pm

Admission: free

TONO x PAMM Selects is a program of screenings organized by TONO and the Pérez Art Museum Miami (PAMM). The works presented in TONO x PAMM Selects explore how bodies are transformed into virtual, natural and supernatural worlds.

From the atomic to the cosmic and the cell to the pixel, the videos in this program explore processes of metamorphosis. From creatures constructed out of mud and bodies transformed through science to digital avatars and bodies manipulated through rituals, the figures in these videos burst a discrete definition of a body. Here, bodies are material vessels as much as they are objects for imagination and groups. A body, from a river to a digital stream, is constantly in a state of flux.

Following the group presentation on March 13, we are presenting the Mexican premiere of The Dam by Ali Cherri. (2022, 84 min). There will be a Q&A with the artist and Maximiliano Cruz, the artistic director of FICUNAM following the film.

Synopsis (The Dam)

Sudan, near the Merowe dam. Maher works in a traditional brickyard fed by the waters of the Nile. Every evening, he secretly wanders off into the desert to build a mysterious construction made of mud. While the Sudanese people rise to claim their freedom, his creation starts to take a life of its own…

more info here

Photo: Ali Cherri, The Dam, 2022

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

The story of the Flood as world-maker is in fact the story of mud. Religion and Science converge in a place where earth and water meet. If mud had its own memory, what might it deem worth remembering?

But something of the old awe remains, of mud’s mysterious force: not earth or water, but both and neither. The place where the two edges of the world meet. Neither liquid nor solid, it shifts perpetually beneath our feet. 

-from Of Men and Gods and Mud (2022)

To respond to the great ecological, technological, and political transformations shaping society today, a sense of fantasy and imagination is required. In the multichannel video installation Of Men and Gods and Mud (2022), Ali Cherri envisions the metamorphic capacity of mud. As a material that embodies a rich liminal space between earth and water, it holds vast creative potential. Mud has persisted as an object of materiality and mythology throughout history–existing as both an instrumental construction tool and the foundation of countless creatures in origin stories across civilizations. Shot at the Merowe Dam on the Nile River in Northern Sudan, the video follows a group of brickmakers. The construction of the dam – the largest hydropower plant in Africa – in the early 2000s led to the displacement of more than 50,000 people, social unrest, and the destruction of ecosystems. Against the backdrop of this imposing structure, the workers’ humble task of transforming mud into brick is nothing short of heroic and presents new possibilities that emerge between destruction and creation. 

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Join us in Puebla to celebrate the closing of Ali Cherri’s installation Of Men and Gods and Mud (2022). We will organize buses from Mexico City to Puebla and have a celebratory drink at the museum.

Time: buses will leave Mexico City at 10 am, exhibition visit and celebration drink from 2-5

Email info@tonofestival.com for more information.

Photo: Ali Cherri, Of Men and Gods and Mud, 2022

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024

Time: museum hours

Admission: with museum entrance

This video follows Emilija Škarnulytė as she embodies the mermaid Æqualia and swims through the Encontro das Águas in Manaus, Brazil, where the Rio Solimões and Rio Negro meet and give rise to the Amazon River. The white waters of the Solimões River, rich in clay from the High Andes and originating from glacial melt, meet the heavy black waters of the Negro River, carrying the decomposition of the lowland rainforests. The marked difference in temperature and composition makes the two rivers different in color, temperature and chemical profile for a stretch of six kilometers. When they finally come together in a fractal spiral, they merge in an infinitely complex way, both scientifically and mythologically.

The river basin is home to the Amazon pink dolphins, known locally as botos. The dolphins use their finely tuned sense of echolocation to navigate both the cooler waters of the Solimões River and the warm, opaque waters of the Negro River, moving between the two with ease. Gliding alongside the botos, the artist exists in her chimera form, navigating the intersection of multiple realms. As a force as vibrant as the merging of rivers, she presents a vision of the fluidity of species and the scale of humans’ relationship with nature.

In October 2023, a year after the end of the filming of Æqualia, the Encontro das Águas dried up due to excessive droughts that led to the massive death of the botos. Through his incarnation as a posthuman creature, Škarnulytė highlights the repercussions of human arrogance and the limits of our species.

Written and directed by: Emilija Škarnulytė; Editing: Vytautas Tinteris; Composers: Jokūbas Čižikas, Vivian Caccuri, Thiago Lanis, Savio de Queiroz; Sound mixing and mastering: Savio De Queiroz; Drone pilot: Bruno Hayden Barreto; Underwater camera: Michael Dantas; Swimmer: Emilija Škarnulytė; Production: Mirror Matter Productions.

Æqualia was a joint commission by Canal Projects and the 14th Gwangju Biennale thanks to the support of the Canal Projects Board of Directors and Advisory Board, the YS Kim Foundation and the Gwangju Biennale Foundation.

more info here

Photo: Emilija Škarnulytė: Æqualia, 2023

Time: museum hours

Admission: with museum entrance

This new video installation by Brazilian artist Gabriel Massan marks their first presentation in Mexico and critically explores the performative essence of life, drawing on decolonial, queer, and decentralised perspectives. Referencing Brazilian philosopher Denise Ferreira da Silva’s book Unpayable Debt – a Black feminist reading of race, global capitalism and futurity, Massan simulates a new world filled with digital sculpture-actors, who establish a force-field of possibility through moments of connection. Filmed from multiple perspectives, Massan offers an ecosystemic view on the realities of life and emergence in the global present, as their characters interact, unite, and bid farewell on small islands suspended in the void.

Expanding their practice of critical worldbuilding, Massan actively creates spaces that promote the emergence and platforming of diverse voices. The accompanying soundtrack features Massan’s voice and sound design by Brazilian artists Agazero and Lyzza.

This co-commission between TONO and Serpentine Arts Technologies connects with Third World: The Bottom Dimension, Massan’s ongoing project commissioned and produced by Serpentine Arts Technologies that incorporates a video game, exhibition and web3 tokens powered by Tezos. Through the prisms of decoloniality, queerness and decentralization (technological, social, economic and ideological), Third World: The Bottom Dimension challenges us to rethink the ways in which we understand and orient ourselves in the world.

This new co-commission was made possible by the Rosenkranz Foundation and the Friends of TONO Circle.

Lead artist: Gabriel Massan; Costume design: Oscar Ouyang; Animation: Carlos Minozzi
Sound design: Agazero & LYZZA; Studio management: Antoine Simeão Schalk; TONO curation: Samantha Ozer; Laboratorio Arte Alameda curation: Lucía Sanroman; Serpentine Galleries curation: Tamar Clarke-Brown
Laboratorio Arte Alameda Production: Marcos Ysair Pérez Botello; Installation design: Germen Estudio; Installation fabrication: Trazos; Headset sculpture fabrication: Sebastián Martínez y Marco Palma; Original; Program adaptation: Esteban Chapela; Technical design support: Ivalyo Getov; Projectors – Final Solution; CPU asssemble- Serigala; Technical support: EIDOTech, Berlin; Technical sketches: Ricardo Sommer; Translation: Luis Garay

Photo: Gabriel Massan, Continuity Flaws: Rumors of a Leak, 2023-2024