Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: 6-9 pm

Admission: Free

Celebrate the opening of TONO 2025! The opening is hosted at Laboratorio Arte Alameda, where installations by Korakrit Arunanondchai & Alex Gvojic, Daniel Steegmann Mangrané, and Luiz Roque will be on view.

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: 7 pm

Admission: Free

Organized in collaboration with the Museum of Modern Art, New York film curator Sophie Cavoulacos, this program features the recent films Pacific Club (2023) and To Exist Under Permanent Suspicion (2024) by artist and filmmaker Valentin Noujaïm. In 1979, the Pacific Club opened in a basement in La Défense—the business district of Paris. It was the first nightclub for young Arabs from the suburbs: a parallel world of dance, sweat, young lovers, and one-night romances. Azedine was one of them. He tells his generation’s forgotten story in Pacific Club. To Exist Under Permanent Suspicion follows the story of Claire, a businesswoman promoting a new skyscraper office in La Defense, who faces increasing scrutiny and isolation. The cold, grey offices amplify her loneliness, driving vivid dreams of setting the tower ablaze. The screening will be followed by a Q&A with the artist.

Photo: Valentin Noujaïm, Pacific Club, 2023

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: 6:30 pm

Admission: Free

For TONO Festival 2025, Jota Mombaça will present the first iteration of a three-year long project for a geo-onto-logical opera. Drawing from elemental theory, visionary fiction and sonic research, the project will gather voices of singers and other vocal practitioners across different regions of the world, while studying the limits of human subjectivity in relation to climatic and ecological liminalities.

The Mexican chapter of the project will look into the hydrologic crisis in Mexico City, remixing the sound of hydro-political infrastructure, recordings of the underwater and the voices of a group of local collaborators who will participate in a three-week residence along with Mombaça. Corriendo hacia la asamblea de las cosas will premiere live during 2025’s TONO Festival in collaboration with Casa del Lago, and later, it will transform into a site-responsive sound installation presented at Wiels in Brussels.

Photo: Jota Mombaça, Thus we disappear (así desaparecemos), 2019-reenacted 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: 7 pm 

Admission: Free

Eartheater is a New York-based artist, multi-instrumentalist, composer and vocalist who distills a three-octave vocal range, experimental digital production and classical composition into works which are suspended between sonic abstraction and arresting lucidity. Freeka Tet is a French-born, New York City-based digital artist and creative mercenary working in the realm of experimental art. His practice combines objects, prosthetics, animatronics, hacking, coding, electronics, audio & video plunderphonics, bricolage, and performance-based work. Taking inspiration from internet culture, memes, trolls, and irrational social human behaviour, Tet reinterprets the elements he comes into contact with, blurring creative expression with technical execution.

Eartheater and Freeka Tet have been friends for years and have always discussed collaborating. At TONO Festival 2025, they found the right moment. For one evening, they will present a new video artwork and live performance.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: 3 – 6 pm

Admission: with museum entrance

Envisioned as a space of mutable symphonies, Aguas Frescas, co-produced with Mudam, Luxembourg, draws on the Mexican tradition of drinking horchatas and other aguas frescas as a metaphor for collectivity. The Performance consists of a collaborative and evolving piece–a “poetry fountain” nourished by the contributions of poets, artists, musicians, dancers and performers invited and working with Bárbara Sánchez-Kane. Following the premiere at TONO, the performance will travel to Mudam for performances on May 17th and 18th.

A series of performances will occur at the Museo Anahuacalli during museum hours on Saturday, March 29th and Sunday, March 30th.

March 29th performance collaborators: Diles que no me maten, Luis Felipe Fabre, Susana Vargas, and Ana G. Zambrano.

March 30th performance collaborators: Luisa Almaguer, Abraham Cruzvillegas, Darío Acuña Fuentes-Beraín, and Ariane Pellicer.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: 3 – 6 pm

Admission: with museum entrance

Envisioned as a space of mutable symphonies, Aguas Frescas, co-produced with Mudam, Luxembourg, draws on the Mexican tradition of drinking horchatas and other aguas frescas as a metaphor for collectivity. The Performance consists of a collaborative and evolving piece–a “poetry fountain” nourished by the contributions of poets, artists, musicians, dancers and performers invited and working with Bárbara Sánchez-Kane. Following the premiere at TONO, the performance will travel to Mudam for performances on May 17th and 18th.

A series of performances will occur at the Museo Anahuacalli during museum hours on Saturday, March 29th and Sunday, March 30th.

March 29th performance collaborators: Diles que no me maten, Luis Felipe Fabre, Susana Vargas, and Ana G. Zambrano.

March 30th performance collaborators: Luisa Almaguer, Abraham Cruzvillegas, Darío Acuña Fuentes-Beraín, and Ariane Pellicer.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: 8 pm

Admission: Free

Adam Linder: Mothering The Tongue is a lecture-performance where Linder dances through a rumination on the practice of “free dance” and the layers of dance experience that rise to the surface in real time. Linder’s text weaves theoretical, cultural and personal ingredients that contribute to “writing in real-time”, which he then physically responds to, propelled by a variety of music from Bach to Sinéad O’Connor. Contrary to his vibrantly staged works for the theatre and the exhibition space, Mothering The Tongue is a stripped-down scenario, an invitation into a mindset that can produce electric possibilities for spontaneous embodiment.

This presentation is made possible with the support of Dance Reflections by Van Cleef & Arpels.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Organized in collaboration with The Museum of Modern Art, New York film curator Sophie Cavoulacos, this program of short films from the MoMA collection traces the artist collectives and clubs that made New York vibrate at the turn of the 1980s. Super 8 films par excellence are among an amalgam of avant-garde arts and the neo-bohemian scene of a dilapidated city that would from then on evoke punk rock, No Wave and graffiti. This selection highlights various styles and genres that impose themselves within a radical artistic freedom that no discipline would escape. Portraits and collective paintings dominate, identity stagings rhyming with performance, sexuality, and fashion that are androgynous, burlesque (the iconic Klaus Nomi, the sparkling John Kelly twisting a tribute to Maria Callas), conceptual (Tina L’Hotsky, the so-called ” queen of the Mudd Club”), or stylized. The program will also feature several films from Mexican filmmaker Ricardo Nicolayevsky’s “lost portrait” series which he created in New York.

Participating artists & biographies (in order of screening):

Richard Kern is an American underground filmmaker, writer and photographer. He contributed a significant number of the most provocative films and videos from the 1980s underground scene. A hard-core social satirist, he makes work that is by turns perverse, sadistic, theatrically bizarre, and darkly humorous, pursuing his interest in lives at the extreme and a fascination with the “geography of faces and bodies.” His work featured artists such as Lydia Lunch, David Wojnarowicz, Sonic Youth, Kembra Pfahler, Karen Finley and Henry Rollins.

Anders Grafstrom was a filmmaker who, along with new wave performance icon Klaus Nomi, was among the New York downtown scene’s first casualties, from a road accident and AIDS, respectively. Grafstrom’s Super8 films bring Nomi back to the screen, including the work in the program, which features an out-of-character but wildly evocative screen test for Charles Ludlam. He also worked with Kristian Hoffman, Tina L’Hotsky, and others. He also made the accomplished feature The Long Island Four.

Michael Oblowitz is a filmmaker. He was born in Cape Town, South Africa, and went to the United States to study in the late 1970s. He made several independent movies, some of the first made in America. Working alongside artists such as Jim Jarmusch and Amos Poe, he made black and white 16-millimeter films in the late 70s and early 80s that became part of the new wave punk rock scene. Many ended up in the permanent collection of the Museum of Modern Art in New York City.

Lisa Baumgardner was an artist, filmmaker, and publisher of Bikini Girl magazine. She was also an organizing member of Club 57 (1978–83), a nightclub and alternative art space and one of the foundational sites in developing the much-mythologized early 1980s East Village art scene. 

Esther Regelson is a filmmaker and an active member of the New York East Village scene. She frequently visited Club 57 (1978–83), which was located in the basement of a Polish Church at 57 St. Marks Place. It began as a no-budget venue for music and film exhibitions and quickly took pride of place in a constellation of countercultural venues in downtown New York. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.

Anney Bonney is a New York-based artist, filmmaker, teacher, writer, and curator of video and performance. In the late 1970s, she exhibited widely in lower Manhattan nightclubs (The Mudd Club, Club 57, Stilwend) and more formal institutions (The Ford Foundation and the Brooklyn Museum). In 1984, she began working at BOMB magazine, where she still contributes.

Ricardo Nicolayevsky was a Mexican filmmaker who moved to New York in the 1980s to study film, music, and creative writing. He was a fixture of the East Village scene in the 1980s and created hundreds of short films for which he also composed the music. 

John Kelly and Anthony Chase were frequent collaborators and part of New York’s East Village downtown scene. Chase was a filmmaker, and John Kelly was a performer and drag persona. During this era, they worked on projects at venues such as the iconic Pyramid Club.

Photo: John Kelly and Anthony Chase. The Dagmar Onassis Story. 1984 , Courtesy The Museum of Modern Art, New York 

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: 7 pm

Admission: Free

Sequedad sobrenaturalizada responds to Delia Beatriz’s exhibition of the same name in which she reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. The work parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

In this concert—formatted as a mass—the church itself becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. In this live performance, she reframes sacred music not as a relic of dogma but as a dynamic testament to resilience: a call to persist, create, and imagine in the face of both physical and spiritual desolation.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: 7 pm

Admission: Free

Sequedad sobrenaturalizada responds to Delia Beatriz’s exhibition of the same name in which she reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. The work parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

In this concert—formatted as a mass—the church itself becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. In this live performance, she reframes sacred music not as a relic of dogma but as a dynamic testament to resilience: a call to persist, create, and imagine in the face of both physical and spiritual desolation.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from February 4th -June 8th

Museo Anahuacalli and TONO are thrilled to announce ¿Cómo se escribe muerte al sur?, a duo exhibition by Carolina Fusilier and Paloma Contreras Lomas. The work responds to the phantasmagoric imagination of the museum, which Diego Rivera created as a temple for art to house his collection of prehispanic objects and where he hoped to be buried when he died. Through video and sound installation, sculpture, and painting, the artists will transform the museum into the site of a fictional thriller mixing personal views on death with the symbols embedded in this enigmatic museum/monument/mausoleum.

Both artists draw inspiration from the architecture of the Anahuacalli and its surrounding landscape to construct their own mythologies and a cast of spectres. Reflecting on the writings of 19th-century Russian philosopher Nikolai Fyodorov, Fusilier seeks to translate some of his theories on biocosmism to the museum’s collection. Exploring Fedorov’s belief that death is not natural but rather a flaw in the design of human beings and something that can be overcome by technological and scientific means, she constructs biocosmic bodies through a new series of works. Carolina playfully and speculatively materializes Fedorov’s eccentric theories, through ensembles of paintings/sculptures that depict some sort of machinery for reviving life, pyramidal-shaped paintings that appear as a continuation of the doors of the museum, to a series of abstract videos made by artist and collaborator Miko Revereza, that explore sensory color forms on VHS, to her main installation “Resurrected Garden”, based on found dried plants in the museum that are animated through mechatronic motors. 

While the Anahuacalli invokes a specific set of ghosts, museums more broadly function as mausoleums. However, museums can also operate as machines for resurrection in contextualising objects through new exhibitions. Through a constellation of new works, including videos, murals, and ceramic maquettes, Contreras Lomas continues exploring a question present in much of her work: What would happen if the landscape could tell its own story? Drawing strong inspiration from Latin American science fiction and B-horror films, she constructs a universe of ghosts, fantastical creatures, and sacrifices to reimagine what she identifies as the myth of modernity. Together, both artists seek to establish mystical bridges that articulate their notions of immortality and a Mesoamerican futurism crossed and interrupted by Western modernity.

Photo: Paloma Contreras Lomas, Virgilio, 2025

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Daniel Steegmann Mangrané (1977, Barcelona, Spain) creates drawings, photographs, collages, installations, and videos which explore the entanglements between humanity and the environment. Working across geographies and mediums, his work takes a networked approach, in which he often pushes the boundaries of distinction between ecologies, humans and nonhuman creatures, while considering how technology mediates gazes. Interested in the history of structural cinema as it relates to duration and perception, he creates projections and cinematic loops, which connect with an investigation of forests. 

Drench (2024) is a video presenting the ghostly image of an eye seen underwater surrounded by tadpoles. The work is from an ongoing series Steegmann Mangrané has shot at the Tijuca National Park, a Mata Atlântica rainforest in Rio de Janeiro. Once almost entirely depleted, in the mid-19th century the Brazilian Emperor Dom Pedro II nationalized the land and had a group of enslaved men replant the rainforest in what was probably one of the pioneering governmental ecological actions worldwide. Once almost entirely cut down, Tijuca still hosts some trees older than 600 years. Those giants were already in place when the Portuguese first arrived and have since witnessed, in its entirety, the violent process of colonization.  

Photo: Daniel Steegmann Mangrané, Drench, 2024

Time: museum hours

Admission: with museum entrance

Delia Beatriz reimagines the Carmelite and monastic choir traditions through the lens of “sequedad sobrenaturalizada”—the spiritual aridity central to the teachings of St. Teresa of Ávila and other Carmelite mystics. This “supernaturalized dryness” reflects the soul’s journey through darkness, where divine presence is not sensed through emotional consolation but through the disciplined will to persist beyond desire. This sound installation and original score parallels this mystical struggle with the historical resilience of women like St. Teresa, Sor Juana Inés de la Cruz, and the 16 Carmelite nuns martyred during the French Revolution—figures who defied the Inquisition, patriarchal, colonial, and institutional oppression to forge paths of artistic, intellectual, and spiritual resistance.

The museum as a former church becomes a metaphor: its architecture and acoustics are reworked to mirror the contested spaces these women navigated—where sacred music was both a tool of colonial hegemony and a subversive vessel for syncretic beauty. The project interrogates how resonance (sonic, spiritual, and ideological) persists even in the absence of comfort, much like faith that thrives in the void of feeling. The piece underscores the enduring power of creativity and devotion—an echo of the resolute voices that continue to transform institutional confines into spaces of radical imagination and unwavering belief.

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

The films of Luiz Roque’s (1979, Cachoeira do Sul, Brazil) are tightly edited cinematic vignettes, distilled to essential images and often hypnotic scores, which explore social, geopolitical, and environmental aspects of contemporary culture. Characterized by open-ended narratives, his films engage with queerness as a space of liminality, offering a strategy for complicating Western modernism and its successors while simultaneously opening channels that link the past, present, and future. This creates a form of abstract storytelling where bodies and cities are often juxtaposed, exploring the artificiality and transformation of these bodies—whether human, animal, or chimera-like—and the interactions between these beings and their environments.  

Paradise explores a feeling of desire and spiritual transcendence in select films, where forms come together–through dancing, holding, gazing, and crashing. Roque’s videos explore the tensions between the natural and the constructed, often blurring the lines between what is visible and what is obscured. In several of the works on view, the moon appears as a guiding light and offers direction amidst the darker sides of paradise. Roque illuminates joy and communion within his work, often casting characters from the LGBTQ+ community in Brazil, such as dancers, drag queens, and other personas. Within the landscape of his imagination, queerness is not just a form of identity but a horizon—a space between times, a cosmic paradise. 

Photo: Luiz Roque, Clube Amarelo, 2024

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 25th – June 15th.

Korakrit Arunanondchai’s (1986, Bangkok, Thailand) work focuses on the transformative potential of storytelling. Through expansive video installations, paintings, objects, and performative works, he processes experiences in his personal environment just as he does political events, history and questions to our crisis-ridden present. Alex Gvojic (1984, Chicago, USA) is an artist and cinematographer whose practice focuses on creating “hyper-reality” environments that blend video, light, and cinematic tropes. 

Pray presents an installation of Arunanondchai and Gvojic’s most recent video Songs for living (2021). Presented within an immersive environment where a wishing pond reflects a submerged image onto a screen, visitors are invited to lie down and listen to the voices of the “ghosts” who narrate the films. The films follow the journey of these entities who speak for dead spirits, political regimes, family members, and animals, all entwined together and transforming into one another. 

Songs for living was co-written with the artist Diane Severin Nguyen, features narrations by singer Zsela, and was influenced by writings from Simone Weil, Édouard Glissant, and Czesław Miłosz. It also includes musical composition and direction by the producer Aaron David Ross. 

Foto: Pray: Korakrit Arunanondchai and Alex Gvojic, Songs for Living, 2021

Time: museum hours

Admission: with museum entrance

This exhibition extends beyond the festival dates. It is on view from March 1 – May 5th. 

More information on museum website

Saodat Ismailova is an Uzbek filmmaker and artist who weaves memories, myths, rituals and dreams into the tapestry of everyday life. Growing up as the first post-Soviet generation in Central Asia, Ismailova has made the region the subject of her work, investigating its historically complex and layered cultures and geographies. Abyss Between Two Mountains brings together films, installations, and woven materials to explore the role of mountains within her body of work, examining them as the confluences between several continuums of time. The mountain and its vertical pull conjures a sense of mystical time, a force against the ever-expanding and forward trajectory of modernity and recent history. 

Drawing on her personal story, ancestral knowledge, and oral histories of women, she creates hypnotic images that take us from the spaces between mountains, places that are marked by geological transitions and cultural artifacts–the central Asian steppe, the banks of the Amu Darya river, and the sacred mountain of Sulaiman-Too, which is the most ancient worship site in the region. The Zoroastrian burial ground of Chillpiq features in several of the works and serves as a bridge between threads of time. Combining new video footage with archival material in works such as As We Fade (2024), she explores how systems of knowledge have been suppressed and even erased by globalized modernity and ecologies threatened. To reflect on this void, or what Mexican post/decolonial theorist Rolando Vázquez calls “an abyss of erasure,” Ismailova “inscribes a gesture of hope, the hope of re-membering as consciousness and the hope of transmission in the face of artifice.” From projecting on silk and allowing an image to fade into the textile to creating stacked multi-channel installations, she uses the apparatus of film to suture any severed ties between the landscape and historical memory and convey a circular sense of time.

Photo: Saodat Ismailova, Melted into the Sun, 2024