Galaxia 2000

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	<title>Galaxia 2000</title>
	<link>https://galaxia2000.com</link>
	<description>Galaxia 2000</description>
	<pubDate>Tue, 29 Sep 2026 21:17:55 +0000</pubDate>
	<generator>https://galaxia2000.com</generator>
	<language>en</language>
	
		
	<item>
		<title>In English</title>
				
		<link>https://galaxia2000.com/In-English</link>

		<pubDate>Fri, 06 Mar 2020 13:02:22 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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&#60;img width="681" height="635" width_o="681" height_o="635" data-src="https://freight.cargo.site/t/original/i/068a208eae1636749fb87a5d627cc52a1ce5eb0207e649916d47ce869cdf3484/GIF-Logo.gif" data-mid="250975420" border="0" data-scale="57" src="https://freight.cargo.site/w/681/i/068a208eae1636749fb87a5d627cc52a1ce5eb0207e649916d47ce869cdf3484/GIF-Logo.gif" /&#62;


CONVERSATIONS &#38;amp; ESSAYS ABOUT ART &#38;amp; TECH


&#60;img width="2555" height="3414" width_o="2555" height_o="3414" data-src="https://freight.cargo.site/t/original/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" data-mid="251012052" border="0" alt="︎URSULA AND THE ART OF LEARNING FROM ANOTHER PLACE" data-caption="︎URSULA AND THE ART OF LEARNING FROM ANOTHER PLACE" src="https://freight.cargo.site/w/1000/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" /&#62;
&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/764f88c510b3a3040a3e454fd36ca06c991458567b4cb61bffe16240b5ed40f2/_Q3A6553-copia.jpg" data-mid="251411642" border="0" alt="TIERRA CITRUS: INDEPENDENT CINEMA PORTRAYING RURAL LABOR AND THE MATRIARCHY OF NORTHERN ARGENTINA" data-caption="TIERRA CITRUS: INDEPENDENT CINEMA PORTRAYING RURAL LABOR AND THE MATRIARCHY OF NORTHERN ARGENTINA" src="https://freight.cargo.site/w/1000/i/764f88c510b3a3040a3e454fd36ca06c991458567b4cb61bffe16240b5ed40f2/_Q3A6553-copia.jpg" /&#62;
&#60;img width="1189" height="824" width_o="1189" height_o="824" data-src="https://freight.cargo.site/t/original/i/b5e28cb8cb98538c32f708648044f479e1c1ba39bcbe0e35e79b98402f7e0bb9/german.jpg" data-mid="251012053" border="0" alt="KINO PALAIS AND THE YEAR I FELL BACK IN LOVE WITH CINEMA " data-caption="KINO PALAIS AND THE YEAR I FELL BACK IN LOVE WITH CINEMA " src="https://freight.cargo.site/w/1000/i/b5e28cb8cb98538c32f708648044f479e1c1ba39bcbe0e35e79b98402f7e0bb9/german.jpg" /&#62;
&#60;img width="1681" height="1920" width_o="1681" height_o="1920" data-src="https://freight.cargo.site/t/original/i/10c0f7aea30266d1b87987a9c479a3814b2ffea7acdc0c0a422ae64d14359f6c/Agustina-Morriconi--Herminia--1918--oleo-sobre-tela.-Fundacion-Ezequiel-Martinez-Estrada.jpg" data-mid="251012062" border="0" alt="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" data-caption="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" src="https://freight.cargo.site/w/1000/i/10c0f7aea30266d1b87987a9c479a3814b2ffea7acdc0c0a422ae64d14359f6c/Agustina-Morriconi--Herminia--1918--oleo-sobre-tela.-Fundacion-Ezequiel-Martinez-Estrada.jpg" /&#62;
&#60;img width="786" height="551" width_o="786" height_o="551" data-src="https://freight.cargo.site/t/original/i/6eda984df0ff7d3e581bca1ba7256370d62ec6793afb7eaababef8b1bc2278f5/facu-libros-galaxia.png" data-mid="251012057" border="0" alt="︎ LITERARY PATHS TO THE ROOTS, BY FACUNDO LEONE" data-caption="︎ LITERARY PATHS TO THE ROOTS, BY FACUNDO LEONE" src="https://freight.cargo.site/w/786/i/6eda984df0ff7d3e581bca1ba7256370d62ec6793afb7eaababef8b1bc2278f5/facu-libros-galaxia.png" /&#62;
&#60;img width="793" height="1354" width_o="793" height_o="1354" data-src="https://freight.cargo.site/t/original/i/2fb9c3424fbe44e555f93e81eb59c0b3ee68b4afdb760ace8f9068e1f9b12346/Pepita-Sandwich.jpeg" data-mid="106626249" border="0" alt="︎TRUTH RIDERS WITH PEPITA SANDWICH" data-caption="︎TRUTH RIDERS WITH PEPITA SANDWICH" src="https://freight.cargo.site/w/793/i/2fb9c3424fbe44e555f93e81eb59c0b3ee68b4afdb760ace8f9068e1f9b12346/Pepita-Sandwich.jpeg" /&#62;
&#60;img width="960" height="1280" width_o="960" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" data-mid="251012056" border="0" alt="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" data-caption="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" src="https://freight.cargo.site/w/960/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" /&#62;
&#60;img width="1430" height="1073" width_o="1430" height_o="1073" data-src="https://freight.cargo.site/t/original/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" data-mid="168584038" border="0" alt="︎ ENVIRONMENTAL PSYCHOLOGY AT THE SERVICE OF RACIAL JUSTICE, BY DR. TODD LEVON BROWN" data-caption="︎ ENVIRONMENTAL PSYCHOLOGY AT THE SERVICE OF RACIAL JUSTICE, BY DR. TODD LEVON BROWN" src="https://freight.cargo.site/w/1000/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" /&#62;
&#60;img width="1080" height="1440" width_o="1080" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f040e59e81fbed899f29ced1382038997622d20fa6d5345b13394702eb8a0b17/AUTUMNUS-FOLIA.jpg" data-mid="251012058" border="0" alt="︎ ENLIGHTENING THE PERCEPTION OF SPACE, BY VALERIA DIVINORUM" data-caption="︎ ENLIGHTENING THE PERCEPTION OF SPACE, BY VALERIA DIVINORUM" src="https://freight.cargo.site/w/1000/i/f040e59e81fbed899f29ced1382038997622d20fa6d5345b13394702eb8a0b17/AUTUMNUS-FOLIA.jpg" /&#62;
&#60;img width="1350" height="2047" width_o="1350" height_o="2047" data-src="https://freight.cargo.site/t/original/i/d894d0f6fcb9589fcab5e5e2fb9720ed443262ae1ba5e27e95c616a45ea28f6f/liliana-porter-1.jpg" data-mid="68176535" border="0" alt="︎ CULTURE AS A SHELTER AT NY ART BOOK FAIR" data-caption="︎ CULTURE AS A SHELTER AT NY ART BOOK FAIR" src="https://freight.cargo.site/w/1000/i/d894d0f6fcb9589fcab5e5e2fb9720ed443262ae1ba5e27e95c616a45ea28f6f/liliana-porter-1.jpg" /&#62;
&#60;img width="4016" height="5215" width_o="4016" height_o="5215" data-src="https://freight.cargo.site/t/original/i/ad933bb0b2fb4856ed18baa418d42cdd412ab7c7de4bc24a267faf02c090a4b1/07_bafici-copy.jpg" data-mid="251012055" border="0" alt="︎ BROKEN &#38;amp; IRIDESCENTLY HEALING, BY MARIA BURUNDARENA" data-caption="︎ BROKEN &#38;amp; IRIDESCENTLY HEALING, BY MARIA BURUNDARENA" src="https://freight.cargo.site/w/1000/i/ad933bb0b2fb4856ed18baa418d42cdd412ab7c7de4bc24a267faf02c090a4b1/07_bafici-copy.jpg" /&#62;
&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/47d92ab1090f6cef4ac702851c77b7d991728f7b5029b981e0bf7971f7a95803/FLOWERS.jpg" data-mid="251012059" border="0" alt="︎TRUTH RIDERS WITH PEPITA SANDWICH" data-caption="︎TRUTH RIDERS WITH PEPITA SANDWICH" src="https://freight.cargo.site/w/1000/i/47d92ab1090f6cef4ac702851c77b7d991728f7b5029b981e0bf7971f7a95803/FLOWERS.jpg" /&#62;
&#60;img width="1100" height="873" width_o="1100" height_o="873" data-src="https://freight.cargo.site/t/original/i/9b80c27dfe2428875a95b1a63a5657467a60373d846fcbe3a60b43a550e26fb4/Joaquina-salguedo-2.png" data-mid="68166539" border="0" alt="︎ JOAQUINA SALGADO AND VIRTUAL LOVE" data-caption="︎ JOAQUINA SALGADO AND VIRTUAL LOVE" src="https://freight.cargo.site/w/1000/i/9b80c27dfe2428875a95b1a63a5657467a60373d846fcbe3a60b43a550e26fb4/Joaquina-salguedo-2.png" /&#62;
&#60;img width="850" height="1240" width_o="850" height_o="1240" data-src="https://freight.cargo.site/t/original/i/987c5229438d16214a18fb63266847cd86b5eb6cace6c3cf2fc6f246bf7fc8aa/JP-Mirabelli-3.jpg" data-mid="251012064" border="0" alt=" ︎ ORAL EXCHANGE BY KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" data-caption=" ︎ ORAL EXCHANGE BY KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" src="https://freight.cargo.site/w/850/i/987c5229438d16214a18fb63266847cd86b5eb6cace6c3cf2fc6f246bf7fc8aa/JP-Mirabelli-3.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" data-mid="251013316" border="0" alt="︎ ENLIGHTENING THE PERCEPTION OF SPACE, BY VALERIA DIVINORUM" data-caption="︎ ENLIGHTENING THE PERCEPTION OF SPACE, BY VALERIA DIVINORUM" src="https://freight.cargo.site/w/1000/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" /&#62;
&#60;img width="850" height="1240" width_o="850" height_o="1240" data-src="https://freight.cargo.site/t/original/i/397bd43fdd365278cfd23205d5bf98e9219fc445c951093e1ff5aa5544cbb714/Kobra-Kei-1.jpg" data-mid="251012061" border="0" alt=" ︎ ORAL EXCHANGE BY KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" data-caption=" ︎ ORAL EXCHANGE BY KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" src="https://freight.cargo.site/w/850/i/397bd43fdd365278cfd23205d5bf98e9219fc445c951093e1ff5aa5544cbb714/Kobra-Kei-1.jpg" /&#62;
&#60;img width="726" height="989" width_o="726" height_o="989" data-src="https://freight.cargo.site/t/original/i/c825bb8beba9ebc2954b973a2aff7b98446b48e01b27ee5ca2930c4c266c9cd3/IMG_1550.jpg" data-mid="251012063" border="0" alt="︎ ON MUSIC AS A GROUNDING EXPERIENCE" data-caption="︎ ON MUSIC AS A GROUNDING EXPERIENCE" src="https://freight.cargo.site/w/726/i/c825bb8beba9ebc2954b973a2aff7b98446b48e01b27ee5ca2930c4c266c9cd3/IMG_1550.jpg" /&#62;
&#60;img width="4002" height="6000" width_o="4002" height_o="6000" data-src="https://freight.cargo.site/t/original/i/f939ac82f4fefe0466614144fda65a2171384e62f42d4b7bf9ffc6dd5101f1fd/dsc07365.jpeg" data-mid="115065362" border="0" alt="︎ANYONE / ANYWHERE, A DIFFERENT KIND OF PHOTO SHOW" data-caption="︎ANYONE / ANYWHERE, A DIFFERENT KIND OF PHOTO SHOW" src="https://freight.cargo.site/w/1000/i/f939ac82f4fefe0466614144fda65a2171384e62f42d4b7bf9ffc6dd5101f1fd/dsc07365.jpeg" /&#62;
&#60;img width="504" height="337" width_o="504" height_o="337" data-src="https://freight.cargo.site/t/original/i/618ee36dd999567e7b1fb3e693c0d8a2793baeb01b71a5193b5f11ba9c6e30b3/Ilusion-del-sur-2.jpg" data-mid="68163036" border="0" alt="︎ PHOTOGRAPHIC DESIRES BY AGUSTINA FIORETTI" data-caption="︎ PHOTOGRAPHIC DESIRES BY AGUSTINA FIORETTI" src="https://freight.cargo.site/w/504/i/618ee36dd999567e7b1fb3e693c0d8a2793baeb01b71a5193b5f11ba9c6e30b3/Ilusion-del-sur-2.jpg" /&#62;


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		<title>Web en español</title>
				
		<link>https://galaxia2000.com/Web-en-espanol</link>

		<pubDate>Wed, 05 Aug 2026 14:16:23 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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&#60;img width="681" height="635" width_o="681" height_o="635" data-src="https://freight.cargo.site/t/original/i/068a208eae1636749fb87a5d627cc52a1ce5eb0207e649916d47ce869cdf3484/GIF-Logo.gif" data-mid="251756489" border="0" data-scale="11" src="https://freight.cargo.site/w/681/i/068a208eae1636749fb87a5d627cc52a1ce5eb0207e649916d47ce869cdf3484/GIF-Logo.gif" /&#62;


CONVERSACIONES &#38;amp; ENSAYOS&#38;nbsp;SOBRE ARTE &#38;amp; TECNOLOGIA


&#60;img width="1189" height="824" width_o="1189" height_o="824" data-src="https://freight.cargo.site/t/original/i/b5e28cb8cb98538c32f708648044f479e1c1ba39bcbe0e35e79b98402f7e0bb9/german.jpg" data-mid="250988039" border="0" alt="KINO PALAIS Y EL A&#38;Ntilde;O EN QUE VOLV&#38;Iacute; A AMAR EL CINE" data-caption="KINO PALAIS Y EL AÑO EN QUE VOLVÍ A AMAR EL CINE" src="https://freight.cargo.site/w/1000/i/b5e28cb8cb98538c32f708648044f479e1c1ba39bcbe0e35e79b98402f7e0bb9/german.jpg" /&#62;
&#60;img width="2555" height="3414" width_o="2555" height_o="3414" data-src="https://freight.cargo.site/t/original/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" data-mid="250988040" border="0" alt="URSULA Y EL ARTE DE APRENDER DESDE OTRO LUGAR" data-caption="URSULA Y EL ARTE DE APRENDER DESDE OTRO LUGAR" src="https://freight.cargo.site/w/1000/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" /&#62;
&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/764f88c510b3a3040a3e454fd36ca06c991458567b4cb61bffe16240b5ed40f2/_Q3A6553-copia.jpg" data-mid="251411345" border="0" alt="TIERRA CITRUS: EL CINE INDEPENDIENTE QUE RETRATA EL TRABAJO RURAL Y EL MATRIARCADO DEL NORTE ARGENTINO" data-caption="TIERRA CITRUS: EL CINE INDEPENDIENTE QUE RETRATA EL TRABAJO RURAL Y EL MATRIARCADO DEL NORTE ARGENTINO" src="https://freight.cargo.site/w/1000/i/764f88c510b3a3040a3e454fd36ca06c991458567b4cb61bffe16240b5ed40f2/_Q3A6553-copia.jpg" /&#62;
&#60;img width="1350" height="2047" width_o="1350" height_o="2047" data-src="https://freight.cargo.site/t/original/i/d894d0f6fcb9589fcab5e5e2fb9720ed443262ae1ba5e27e95c616a45ea28f6f/liliana-porter-1.jpg" data-mid="251002380" border="0" alt="︎LA CULTURA COMO REFUGIO EN NY ART BOOK FAIR" data-caption="︎LA CULTURA COMO REFUGIO EN NY ART BOOK FAIR" src="https://freight.cargo.site/w/1000/i/d894d0f6fcb9589fcab5e5e2fb9720ed443262ae1ba5e27e95c616a45ea28f6f/liliana-porter-1.jpg" /&#62;
&#60;img width="960" height="1280" width_o="960" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" data-mid="250988046" border="0" alt="HISTORIAS ENTRE LIENZOSL: MUJERES QUE FORMARON LA ESCENA ART&#38;Iacute;STICA ARGENTINA" data-caption="HISTORIAS ENTRE LIENZOSL: MUJERES QUE FORMARON LA ESCENA ARTÍSTICA ARGENTINA" src="https://freight.cargo.site/w/960/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" /&#62;
&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/d5b9e1f92db0bd7987be7805e3e3128d987eba92b622b25d74b22441eb9a877f/Kobra-kei.jpg" data-mid="251002372" border="0" alt="︎INTERCAMBIO ORAL X KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" data-caption="︎INTERCAMBIO ORAL X KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" src="https://freight.cargo.site/w/1000/i/d5b9e1f92db0bd7987be7805e3e3128d987eba92b622b25d74b22441eb9a877f/Kobra-kei.jpg" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f389611efde7cf602eb98225a57a6b4e0597657b5ef3f6670e8aeb3b3f25e253/_DEB7452.JPG" data-mid="250988038" border="0" alt="URSULA Y EL ARTE DE APRENDER DESDE OTRO LUGAR" data-caption="URSULA Y EL ARTE DE APRENDER DESDE OTRO LUGAR" src="https://freight.cargo.site/w/1000/i/f389611efde7cf602eb98225a57a6b4e0597657b5ef3f6670e8aeb3b3f25e253/_DEB7452.JPG" /&#62;
&#60;img width="793" height="1354" width_o="793" height_o="1354" data-src="https://freight.cargo.site/t/original/i/2fb9c3424fbe44e555f93e81eb59c0b3ee68b4afdb760ace8f9068e1f9b12346/Pepita-Sandwich.jpeg" data-mid="251002366" border="0" alt="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" data-caption="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" src="https://freight.cargo.site/w/793/i/2fb9c3424fbe44e555f93e81eb59c0b3ee68b4afdb760ace8f9068e1f9b12346/Pepita-Sandwich.jpeg" /&#62;
&#60;img width="1200" height="856" width_o="1200" height_o="856" data-src="https://freight.cargo.site/t/original/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" data-mid="250988044" border="0" alt="HISTORIAS ENTRE LIENZOSL: MUJERES QUE FORMARON LA ESCENA ART&#38;Iacute;STICA ARGENTINA" data-caption="HISTORIAS ENTRE LIENZOSL: MUJERES QUE FORMARON LA ESCENA ARTÍSTICA ARGENTINA" src="https://freight.cargo.site/w/1000/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" /&#62;
&#60;img width="1430" height="1073" width_o="1430" height_o="1073" data-src="https://freight.cargo.site/t/original/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" data-mid="250988041" border="0" alt="︎PSICOLOG&#38;Iacute;A AMBIENTAL AL SERVICIO DE LA JUSTICIA RACIAL" data-caption="︎PSICOLOGÍA AMBIENTAL AL SERVICIO DE LA JUSTICIA RACIAL" src="https://freight.cargo.site/w/1000/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" /&#62;
&#60;img width="4608" height="3072" width_o="4608" height_o="3072" data-src="https://freight.cargo.site/t/original/i/44a15dc7e6272f945603f3ec21e0e2f577e2d27340dbf66a2323b2547616bddb/03_The_Hypercube.jpg" data-mid="250988042" border="0" alt="︎ILUMINANDO LA PERCEPCI&#38;Oacute;N DEL ESPACIO, X VALERIA DIVINORUM" data-caption="︎ILUMINANDO LA PERCEPCIÓN DEL ESPACIO, X VALERIA DIVINORUM" src="https://freight.cargo.site/w/1000/i/44a15dc7e6272f945603f3ec21e0e2f577e2d27340dbf66a2323b2547616bddb/03_The_Hypercube.jpg" /&#62;
&#60;img width="786" height="551" width_o="786" height_o="551" data-src="https://freight.cargo.site/t/original/i/6eda984df0ff7d3e581bca1ba7256370d62ec6793afb7eaababef8b1bc2278f5/facu-libros-galaxia.png" data-mid="251002562" border="0" alt="︎SENDEROS LITERARIOS HACIA LA RAIZ, X FACUNDO LEONE" data-caption="︎SENDEROS LITERARIOS HACIA LA RAIZ, X FACUNDO LEONE" src="https://freight.cargo.site/w/786/i/6eda984df0ff7d3e581bca1ba7256370d62ec6793afb7eaababef8b1bc2278f5/facu-libros-galaxia.png" /&#62;
&#60;img width="2048" height="3089" width_o="2048" height_o="3089" data-src="https://freight.cargo.site/t/original/i/067e0ad79ed461cb90f3f3221ae953cc0f269deb6390ee619969e93899085471/Agustina-Fioretti.jpg" data-mid="251002762" border="0" alt="︎LOS DESEOS FOTOGRAFICOS DE AGUSTINA FIORETTI" data-caption="︎LOS DESEOS FOTOGRAFICOS DE AGUSTINA FIORETTI" src="https://freight.cargo.site/w/1000/i/067e0ad79ed461cb90f3f3221ae953cc0f269deb6390ee619969e93899085471/Agustina-Fioretti.jpg" /&#62;
&#60;img width="850" height="1240" width_o="850" height_o="1240" data-src="https://freight.cargo.site/t/original/i/987c5229438d16214a18fb63266847cd86b5eb6cace6c3cf2fc6f246bf7fc8aa/JP-Mirabelli-3.jpg" data-mid="251002665" border="0" alt="︎INTERCAMBIO ORAL X KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" data-caption="︎INTERCAMBIO ORAL X KOBRA KEI &#38;amp; JUAN PABLO MIRABELLI" src="https://freight.cargo.site/w/850/i/987c5229438d16214a18fb63266847cd86b5eb6cace6c3cf2fc6f246bf7fc8aa/JP-Mirabelli-3.jpg" /&#62;
&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/d20d162535050599a73ad15480aed6b14f4f2cb57afa512c9a0d8ca73b0ce861/htbtloil2.jpg" data-mid="251002364" border="0" alt="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" data-caption="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" src="https://freight.cargo.site/w/1000/i/d20d162535050599a73ad15480aed6b14f4f2cb57afa512c9a0d8ca73b0ce861/htbtloil2.jpg" /&#62;
&#60;img width="4017" height="6016" width_o="4017" height_o="6016" data-src="https://freight.cargo.site/t/original/i/7ed2f7133adb080cd547f8a76ae894652ae4560399679d9acb297c4353f8c842/03__urban-tracking-berlin_collage-rosa.jpg" data-mid="250988048" border="0" alt="︎ROTA &#38;amp; SANANDO CON IRIDISCENCIA, VIA MAR&#38;Iacute;A BURUNDARENA" data-caption="︎ROTA &#38;amp; SANANDO CON IRIDISCENCIA, VIA MARÍA BURUNDARENA" src="https://freight.cargo.site/w/1000/i/7ed2f7133adb080cd547f8a76ae894652ae4560399679d9acb297c4353f8c842/03__urban-tracking-berlin_collage-rosa.jpg" /&#62;
&#60;img width="726" height="989" width_o="726" height_o="989" data-src="https://freight.cargo.site/t/original/i/c825bb8beba9ebc2954b973a2aff7b98446b48e01b27ee5ca2930c4c266c9cd3/IMG_1550.jpg" data-mid="251002359" border="0" alt="︎LA MUSICA COMO UNA EXPERIENCIA PARA CONECTAR" data-caption="︎LA MUSICA COMO UNA EXPERIENCIA PARA CONECTAR" src="https://freight.cargo.site/w/726/i/c825bb8beba9ebc2954b973a2aff7b98446b48e01b27ee5ca2930c4c266c9cd3/IMG_1550.jpg" /&#62;
&#60;img width="1303" height="869" width_o="1303" height_o="869" data-src="https://freight.cargo.site/t/original/i/e4d6555a6f0f2364e2ae745bf3267bc5ef01c16ce6365a7f94c8ca334b8abd96/cabin-modules.jpg" data-mid="251002470" border="0" alt="︎IR ARQUITECTURA Y COMO HACER DE ESTE ARTE UN SABER COMUN" data-caption="︎IR ARQUITECTURA Y COMO HACER DE ESTE ARTE UN SABER COMUN" src="https://freight.cargo.site/w/1000/i/e4d6555a6f0f2364e2ae745bf3267bc5ef01c16ce6365a7f94c8ca334b8abd96/cabin-modules.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" data-mid="250988051" border="0" alt="︎ILUMINANDO LA PERCEPCI&#38;Oacute;N DEL ESPACIO, X VALERIA DIVINORUM" data-caption="︎ILUMINANDO LA PERCEPCIÓN DEL ESPACIO, X VALERIA DIVINORUM" src="https://freight.cargo.site/w/1000/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" /&#62;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ee6514c6f3f4d9343a203017280abf94d90d6f23c1a202d88d1d24d5fc14997f/con-mi-obra.jpg" data-mid="250988043" border="0" alt="︎ILUMINANDO LA PERCEPCI&#38;Oacute;N DEL ESPACIO, X VALERIA DIVINORUM" data-caption="︎ILUMINANDO LA PERCEPCIÓN DEL ESPACIO, X VALERIA DIVINORUM" src="https://freight.cargo.site/w/1000/i/ee6514c6f3f4d9343a203017280abf94d90d6f23c1a202d88d1d24d5fc14997f/con-mi-obra.jpg" /&#62;
&#60;img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/ff3c31ff723b10558252ae1f5c399233159e2745abcb0ea79404697f6d3c5041/joaquina-20salgado.jpg" data-mid="251002744" border="0" alt="︎JOAQUINA SALGADO Y EL AMOR VIRTUAL EN TIEMPOS DE CORONAVIRUS" data-caption="︎JOAQUINA SALGADO Y EL AMOR VIRTUAL EN TIEMPOS DE CORONAVIRUS" src="https://freight.cargo.site/w/960/i/ff3c31ff723b10558252ae1f5c399233159e2745abcb0ea79404697f6d3c5041/joaquina-20salgado.jpg" /&#62;
&#60;img width="1774" height="1196" width_o="1774" height_o="1196" data-src="https://freight.cargo.site/t/original/i/300bc89fd6b13836fdc49a43e7a616c2a87a970c3779a50469224a6632ffeada/Captura-de-pantalla-2020-04-23-a-las-12.08.10-p.m..jpg" data-mid="251002467" border="0" alt="︎MI AMOR A LA DISTORSI&#38;Oacute;N POR SHIS UNUSHUAL" data-caption="︎MI AMOR A LA DISTORSIÓN POR SHIS UNUSHUAL" src="https://freight.cargo.site/w/1000/i/300bc89fd6b13836fdc49a43e7a616c2a87a970c3779a50469224a6632ffeada/Captura-de-pantalla-2020-04-23-a-las-12.08.10-p.m..jpg" /&#62;
&#60;img width="1167" height="778" width_o="1167" height_o="778" data-src="https://freight.cargo.site/t/original/i/dd11b0e8ea6dd6e5db7a5953681bd23e398366660c97c455fdb5bff5530d2c77/facu-libros-galaxia-2.jpg" data-mid="251002574" border="0" alt="︎SENDEROS LITERARIOS HACIA LA RAIZ, X FACUNDO LEONE" data-caption="︎SENDEROS LITERARIOS HACIA LA RAIZ, X FACUNDO LEONE" src="https://freight.cargo.site/w/1000/i/dd11b0e8ea6dd6e5db7a5953681bd23e398366660c97c455fdb5bff5530d2c77/facu-libros-galaxia-2.jpg" /&#62;
&#60;img width="737" height="1020" width_o="737" height_o="1020" data-src="https://freight.cargo.site/t/original/i/aa118e2693625fa4bb1fab5bf223fb6dee9d5c499b426c3aec4036e7807dd927/02_texturas-plasticas_collar.jpg" data-mid="250988049" border="0" alt="︎ROTA &#38;amp; SANANDO CON IRIDISCENCIA, VIA MAR&#38;Iacute;A BURUNDARENA" data-caption="︎ROTA &#38;amp; SANANDO CON IRIDISCENCIA, VIA MARÍA BURUNDARENA" src="https://freight.cargo.site/w/737/i/aa118e2693625fa4bb1fab5bf223fb6dee9d5c499b426c3aec4036e7807dd927/02_texturas-plasticas_collar.jpg" /&#62;
&#60;img width="4002" height="6000" width_o="4002" height_o="6000" data-src="https://freight.cargo.site/t/original/i/f939ac82f4fefe0466614144fda65a2171384e62f42d4b7bf9ffc6dd5101f1fd/dsc07365.jpeg" data-mid="251002361" border="0" alt="︎ANYONE / ANYWHERE, UN SHOW DE FOTOGRAFIA DIFERENTE" data-caption="︎ANYONE / ANYWHERE, UN SHOW DE FOTOGRAFIA DIFERENTE" src="https://freight.cargo.site/w/1000/i/f939ac82f4fefe0466614144fda65a2171384e62f42d4b7bf9ffc6dd5101f1fd/dsc07365.jpeg" /&#62;
&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/d20d162535050599a73ad15480aed6b14f4f2cb57afa512c9a0d8ca73b0ce861/htbtloil2.jpg" data-mid="251002364" border="0" alt="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" data-caption="︎TRUTH RIDERS JUNTO A PEPITA SANDWICH" src="https://freight.cargo.site/w/1000/i/d20d162535050599a73ad15480aed6b14f4f2cb57afa512c9a0d8ca73b0ce861/htbtloil2.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Courses</title>
				
		<link>https://galaxia2000.com/Courses</link>

		<pubDate>Wed, 05 Aug 2026 06:39:01 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Courses</guid>

		<description>
	

RAPID PRESS CLUBA workshop to get sh*t done when you’re stuck

The Rapid Press Club is a 7-session guided workshop—hosted in NYC and online—led by me, Barbara Niveyro, an interdisciplinary designer. We leverage systematic design thinking to help leaders and creators shape complex ideas and translate them into tangible outcomes. It’s a space for projects you’ve already started but feel stuck on. A past client once called me their "doula" because I don't just give advice; I walk alongside you through every stage of production until your idea is launched.


	RAPID AND CLUB?&#38;nbsp;
As a creator, sometimes you need to make first and think later. Do you go to a club, listen to a song, analyze it, and then dance? No. You dance. Often, the rapid accident is the result you couldn’t find through overthinking.
	YOU DON’T NEED TO BE A CREATIVE TO BE A CREATOR &#38;gt;&#38;nbsp;

STUDENT PROFILES ✦ A financial advisor opening a listening bar ✦ A consultant optimizing time management &#38;amp; strategy&#38;nbsp;✦ An engineer writing a book about street art ✦ A chef launching an e-commerce store&#38;nbsp;✦ A parent making their home more accessible

	
&#60;img width="5224" height="1056" width_o="5224" height_o="1056" data-src="https://freight.cargo.site/t/original/i/65e59757e671f34e3924c85010c14e3ab754c445b9d12ea021d24e5075f6650c/Frame-1-4.jpg" data-mid="251779688" border="0"  src="https://freight.cargo.site/w/1000/i/65e59757e671f34e3924c85010c14e3ab754c445b9d12ea021d24e5075f6650c/Frame-1-4.jpg" /&#62;

QUESTIONS? infogalaxia2000@gmail.com


ABOUT MY WORK

I hold an MFA in Open Design for Innovation from Humboldt University of Berlin and bring nearly two decades of experience leading design, research, and production for organizations like Citibank, NYU, and the State of New Jersey. 
My background spans audio engineering, film production and publishing.
This hybrid approach allows me to merge design thinking systems with practical and creative execution. 
Visit my portfolio
&#60;img width="1176" height="1244" width_o="1176" height_o="1244" data-src="https://freight.cargo.site/t/original/i/dbb9f4581e6cee7c3ebfa5b9bd49478cb5ffc772a00006995e34c2024590301b/profile.png" data-mid="251188482" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/dbb9f4581e6cee7c3ebfa5b9bd49478cb5ffc772a00006995e34c2024590301b/profile.png" /&#62;
I grew up bringing ideas to life. For me, it’s a deeply rewarding way to build community through experimentation. 
People always ask how I get sh*t done. I’m flattered! But bridging the gap between an idea and a finished product takes a system—especially if you're unfamiliar with design thinking, or stuck in perfectionism and struggling to execute. To honor these supporters, I created the Rapid Press Club: a space for makers that will evolve alongside my students and my own journey.Everyboday is welcome to the Rapid Press Club!Barbara Niveyro


Your 7-session roadmap

This is flexible. Each student &#38;amp; project is unique.

1–2. Alignment &#38;amp; problem framing
We’ll clarify scope, audience, and product identity. Together, we’ll define what success looks like for you and surface blockers early.
&#60;img width="476" height="554" width_o="476" height_o="554" data-src="https://freight.cargo.site/t/original/i/e47ef3b59e63c56d2e0bbd175c1cff8bd0c44790623ba4ac3b17efb7d70b7e89/Screenshot-2026-08-23-at-12.49.47AM.png" data-mid="251496261" border="0" data-scale="15" src="https://freight.cargo.site/w/476/i/e47ef3b59e63c56d2e0bbd175c1cff8bd0c44790623ba4ac3b17efb7d70b7e89/Screenshot-2026-08-23-at-12.49.47AM.png" /&#62;

3–4. Bi-weekly sprints &#38;amp; co-creation
Each session builds momentum by balancing strategy with hands-on making:
Rapid prototyping: We’ll build and test with real users so you can iterate with confidence.Focus: We’ll use somatic frameworks to navigate decision fatigue and overcome creative friction.
&#60;img width="688" height="444" width_o="688" height_o="444" data-src="https://freight.cargo.site/t/original/i/6cd23dde47f0498e14e512d34f3fa4a8cbc1597027fc8677f7b1c9227c8b2304/Screenshot-2026-08-21-at-12.23.06AM.png" data-mid="251448134" border="0" data-scale="19" src="https://freight.cargo.site/w/688/i/6cd23dde47f0498e14e512d34f3fa4a8cbc1597027fc8677f7b1c9227c8b2304/Screenshot-2026-08-21-at-12.23.06AM.png" /&#62;

5. Solid plan &#38;amp; retrospective
By month three, we’ll have concrete answers about your audience and product architecture. We’ll pause to evaluate our dynamic and adjust goals.

&#60;img width="362" height="510" width_o="362" height_o="510" data-src="https://freight.cargo.site/t/original/i/14195a144a9fe53b5272a2b3ea1ead2dbf12e2c1b2b835f14cff87e623d0e582/Screenshot-2026-08-21-at-12.23.36AM.png" data-mid="251448132" border="0" data-scale="11" src="https://freight.cargo.site/w/362/i/14195a144a9fe53b5272a2b3ea1ead2dbf12e2c1b2b835f14cff87e623d0e582/Screenshot-2026-08-21-at-12.23.36AM.png" /&#62;
6. Polishing the results
We’ll refine your core deliverables, finalize design details, and package your product so it’s ready for public release.

&#60;img width="558" height="726" width_o="558" height_o="726" data-src="https://freight.cargo.site/t/original/i/31503392b14e230c0dcf53f4bab6eba6d60672cfb1e88780147a5f5bfc6d7aef/Screenshot-2026-08-23-at-12.51.00AM.png" data-mid="251496263" border="0" data-scale="10" src="https://freight.cargo.site/w/558/i/31503392b14e230c0dcf53f4bab6eba6d60672cfb1e88780147a5f5bfc6d7aef/Screenshot-2026-08-23-at-12.51.00AM.png" /&#62;
7. Launch &#38;amp; next steps
We wrap up by mapping your next-phase roadmap and celebrating your progress with an online or in-person showcase — optional, other ways to celebrate will be considered :)
&#60;img width="538" height="524" width_o="538" height_o="524" data-src="https://freight.cargo.site/t/original/i/44b74aa9135f1108030726bd138cbad728d67cafc6674962e3243ea837c0477b/Screenshot-2026-08-21-at-12.23.55AM.png" data-mid="251448131" border="0" data-scale="11" src="https://freight.cargo.site/w/538/i/44b74aa9135f1108030726bd138cbad728d67cafc6674962e3243ea837c0477b/Screenshot-2026-08-21-at-12.23.55AM.png" /&#62;

Ongoing support &#38;amp; workspace
Asynchronous feedback: I’m in your corner between calls with direct support via comments, screen recordings, or quick check-ins.Dedicated workspace: We’ll organize your entire journey—insights, reading, and commitments—in a custom FigJam workspace you retain long after we finish.


QUESTIONS?infogalaxia2000@gmail.com

&#60;img width="2328" height="1566" width_o="2328" height_o="1566" data-src="https://freight.cargo.site/t/original/i/92687c4bef0cef57ab07f8cfb218be942d9372e6b4ccbfe055431a2df7e5ac26/Screenshot-2026-08-12-at-1.18.02PM.png" data-mid="251192487" border="0" data-scale="9" src="https://freight.cargo.site/w/1000/i/92687c4bef0cef57ab07f8cfb218be942d9372e6b4ccbfe055431a2df7e5ac26/Screenshot-2026-08-12-at-1.18.02PM.png" /&#62;


&#60;img width="374" height="315" width_o="374" height_o="315" data-src="https://freight.cargo.site/t/original/i/a597ce48402a1642273c2045eb93c339e3d9f78e5b85ae335305a53714329ed5/Ojos-dibujo.gif" data-mid="251499858" border="0"  src="https://freight.cargo.site/w/374/i/a597ce48402a1642273c2045eb93c339e3d9f78e5b85ae335305a53714329ed5/Ojos-dibujo.gif" /&#62;

Projects gallery coming soon</description>
		
	</item>
		
		
	<item>
		<title>Resources</title>
				
		<link>https://galaxia2000.com/Resources</link>

		<pubDate>Tue, 29 Sep 2026 03:45:00 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Resources</guid>

		<description>SOME DESIGN THINKING, RESEARCH AND PROJECT CREATION RESOURCES AT YOUR SERVICE


The content design manifesto&#38;nbsp;&#60;img src="https://cdn-icons-png.flaticon.com/128/11693/11693703.png" width="64" height="64" style="width: 12.6672px; height: 12.6672px;" data-scale="1"&#62;
Designing a book with Figma

Design research summary -- coming soon!
How to ask for feedback and digest it -- coming soon!
</description>
		
	</item>
		
		
	<item>
		<title>Galaxia2000 info</title>
				
		<link>https://galaxia2000.com/Galaxia2000-info</link>

		<pubDate>Thu, 05 Mar 2020 03:03:17 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Galaxia2000-info</guid>

		<description>


GALAXIA2000 INFO&#38;nbsp;We are a bilingual design lab founded in 2019 to bridge Art and Technology. Our mission is to guide and inspire creators through our courses and articles while building sustainable artist networks that foster emerging creators and third places. 
Somos un laboratorio de diseño bilingüe fundado en 2019 para tender puentes entre el Arte y la Tecnología. Nuestra misión es guiar e inspirar a creadores a través de nuestros cursos y artículos, mientras construimos redes sostenibles de artistas para impulsar a creadores emergentes y espacios colectivos.We make first, think later.Primero hacemos, después pensamos.We want galaxia2000 to be a meeting point.Queremos que galaxia2000 sea un punto de encuentro.We love loud dance music.
Nos encanta la música bailable fuerte.


WHY BILINGUAL

Much of the discourse around innovation and emerging media exists in English, so bringing these topics to Spanish readers felt necessary. Conversely, Spanish-speaking creatives don't always publish in English. Translating their work gives them greater visibility online and expands their international reach—while giving creators a space to reflect on their practice.&#38;nbsp;Gran parte del discurso sobre innovación y medios emergentes existe en inglés, así que acercar estos temas a lectores hispanohablantes nos pareció un acto necesario. Del mismo modo, los creativos que escriben en español no siempre publican su trabajo en inglés. Traducir sus proyectos les da mayor visibilidad online y amplía su alcance internacional, al tiempo que les brinda a los creadores un espacio para reflexionar sobre su propia práctica.


TEAM
Barbara Niveyro is a design educator, content strategist, and audio engineer. She is a maker sin verguenza and occasional beekeeper. She holds an MFA in Open Design for Innovation from Humboldt University of Berlin. Visit her portfolio.&#38;nbsp;
Barbara Niveyro&#38;nbsp;enseña diseño, escritora e ingeniera de sonido. Es una hacedora sin vergüenza y apicultora ocasional. Tiene un Máster (MFA) en Diseño Abierto para la Innovación por la Universidad Humboldt de Berlín.
Julieta Fortina is a motion designer, illustrator, DJ, and keen observer. Known for her acid sense of humor. She didn’t study—she was born this eloquent and swims every Tuesday. &#38;nbsp;Julieta fortina es una diseñadora, ilustradora, DJ y observadora perspicaz. Conocida por su sentido del humor ácido. No estudió: nació así de elocuente y nada todos los martes.

CONTACT
infogalaxia2000@gmail.com &#124;&#38;nbsp;Ig @galaxia.2000 

&#60;img width="385" height="237" width_o="385" height_o="237" data-src="https://freight.cargo.site/t/original/i/8a3225e97340d039876dfb5b55175bd6d5cdb94f6caa538ebcedb0023500fd6f/Galaxia-2000-logo-negro-web-_2.gif" data-mid="251013609" border="0" data-scale="14" src="https://freight.cargo.site/w/385/i/8a3225e97340d039876dfb5b55175bd6d5cdb94f6caa538ebcedb0023500fd6f/Galaxia-2000-logo-negro-web-_2.gif" /&#62;
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		<title>Designing a book with Figma</title>
				
		<link>https://galaxia2000.com/Designing-a-book-with-Figma</link>

		<pubDate>Tue, 29 Sep 2026 21:17:55 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Designing-a-book-with-Figma</guid>

		<description>Designing a book with Figma
I know you're daydreaming about writing your first or second book, maybe you want to make a zine. You got illustrations, poems, or essays sitting in a drawer, fading away because you haven't shared them with the world. What the fu*k are you waiting for?The writing part is hard, but putting the pieces together can be even harder. My intention with this zine is to guide you through the process I used to design Ditmas Park: A Visual Anthology, a photobook that we published with Taylor &#38;amp; Co. Books—now completely sold out!While InDesign is the standard for book making, to design that book I needed an accessible tool because the nature of the Ditmas Park photobook was to be co-created. So I experimented, and I saw that Figma:Is intuitive for folks unfamiliar with design software.Offers seamless collaboration in real time or async.Has a generous free plan.In this guide I will walk you through the process—though, of course, whether you are a persistent writer/designer is up to you. I will be happy to help you if you need more guidance.Enjoy the lesson!Barbara

&#60;img width="1028" height="1592" width_o="1028" height_o="1592" data-src="https://freight.cargo.site/t/original/i/f48003c0448a434a0084a10ed4916fdcd943e01f72c4815cf2420570a177411f/Screenshot-2026-09-29-at-5.38.44PM.png" data-mid="252734656" border="0" alt="Slide to see the 9 steps." data-caption="Slide to see the 9 steps." src="https://freight.cargo.site/w/1000/i/f48003c0448a434a0084a10ed4916fdcd943e01f72c4815cf2420570a177411f/Screenshot-2026-09-29-at-5.38.44PM.png" /&#62;
&#60;img width="1066" height="1652" width_o="1066" height_o="1652" data-src="https://freight.cargo.site/t/original/i/c7f0830397d533ed08b36dc924cb018dcca0bbbd2b7bae9ca05071908c07e24c/Screenshot-2026-09-29-at-5.39.08PM.png" data-mid="252734657" border="0"  src="https://freight.cargo.site/w/1000/i/c7f0830397d533ed08b36dc924cb018dcca0bbbd2b7bae9ca05071908c07e24c/Screenshot-2026-09-29-at-5.39.08PM.png" /&#62;
&#60;img width="1068" height="1654" width_o="1068" height_o="1654" data-src="https://freight.cargo.site/t/original/i/38eea96118feefca9a325004e3bb5d5fe9a2e417bb201794448c64df9fa2e44e/Screenshot-2026-09-29-at-5.39.19PM.png" data-mid="252734658" border="0"  src="https://freight.cargo.site/w/1000/i/38eea96118feefca9a325004e3bb5d5fe9a2e417bb201794448c64df9fa2e44e/Screenshot-2026-09-29-at-5.39.19PM.png" /&#62;


&#60;img width="1160" height="1738" width_o="1160" height_o="1738" data-src="https://freight.cargo.site/t/original/i/0d955d42c0c89aa179ff8e9df6ac942a534c7ed19f9db54639953acc2db4d81a/Screenshot-2026-09-29-at-5.28.05PM.png" data-mid="252734516" border="0"  src="https://freight.cargo.site/w/1000/i/0d955d42c0c89aa179ff8e9df6ac942a534c7ed19f9db54639953acc2db4d81a/Screenshot-2026-09-29-at-5.28.05PM.png" /&#62;
&#60;img width="1328" height="1784" width_o="1328" height_o="1784" data-src="https://freight.cargo.site/t/original/i/c716f9c6b470a4a71c299647f54a51dba9858f83885be2d0622e471aa9f9a938/Screenshot-2026-09-29-at-5.30.41PM.png" data-mid="252734534" border="0"  src="https://freight.cargo.site/w/1000/i/c716f9c6b470a4a71c299647f54a51dba9858f83885be2d0622e471aa9f9a938/Screenshot-2026-09-29-at-5.30.41PM.png" /&#62;

&#60;img width="1418" height="1776" width_o="1418" height_o="1776" data-src="https://freight.cargo.site/t/original/i/a2cff92d893db67ad41071373a759d0df008d177fac568d161c891f469efd39d/Screenshot-2026-09-29-at-5.31.41PM.png" data-mid="252734574" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/a2cff92d893db67ad41071373a759d0df008d177fac568d161c891f469efd39d/Screenshot-2026-09-29-at-5.31.41PM.png" /&#62;&#60;img width="1324" height="1778" width_o="1324" height_o="1778" data-src="https://freight.cargo.site/t/original/i/8a028bc9368737b0d534732bc2fa5143a0c5c900f1ac643bb1cd526daacd6476/Screenshot-2026-09-29-at-5.31.29PM.png" data-mid="252734573" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/8a028bc9368737b0d534732bc2fa5143a0c5c900f1ac643bb1cd526daacd6476/Screenshot-2026-09-29-at-5.31.29PM.png" /&#62;This manual was orginally a zine I made for Printed Matter’s Art Book fair at MoMA Ps1

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		<title>Tierra Citrus Eng</title>
				
		<link>https://galaxia2000.com/Tierra-Citrus-Eng</link>

		<pubDate>Thu, 20 Aug 2026 03:31:52 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Tierra-Citrus-Eng</guid>

		<description>Tierra Citrus: Independent cinema portraying rural labor and the matriarchy of Northern Argentina

by Bárbara Niveyro &#124; August 2026
&#60;img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/4458f3ba02700e41cffe03d17c0fcac1945ccf03353af5cb83f6826196b231da/L1020554.jpg" data-mid="251411390" border="0"  src="https://freight.cargo.site/w/1000/i/4458f3ba02700e41cffe03d17c0fcac1945ccf03353af5cb83f6826196b231da/L1020554.jpg" /&#62;Director Ayelén Agüero and crew during the filming of Tierra Citrus in Tucumán.
Argentine film director Ayelén Agüero premirtd&#38;nbsp;Tierra Citrus this month, an independent documentary filmed in Tucumán in co-production with the Los Angeles-based organization Make Art Not War. With a solid background in audiovisual directing from the University of San Martín (UNSAM) and an active track record in independent cultural projects—such as the writing project The Club of Living Poets—the filmmaker explores territorial memory, family roots, and the strength of the rural matriarchy in Northern Argentina in this work.


&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/287cfc7bc9aa889e9b070216b9aee73a84dc48eb9516d53041a4ba4507b35f09/vlcsnap-2026-08-06-12h09m04s634.png" data-mid="251411537" border="0"  src="https://freight.cargo.site/w/1000/i/287cfc7bc9aa889e9b070216b9aee73a84dc48eb9516d53041a4ba4507b35f09/vlcsnap-2026-08-06-12h09m04s634.png" /&#62;
&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/9e5cfe8536be0cd2776d634f75cadcca9d1498298b6fd1050073e0edbf1e2270/vlcsnap-2026-08-06-12h10m35s074.png" data-mid="251411539" border="0"  src="https://freight.cargo.site/w/1000/i/9e5cfe8536be0cd2776d634f75cadcca9d1498298b6fd1050073e0edbf1e2270/vlcsnap-2026-08-06-12h10m35s074.png" /&#62;
&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/3a0c9540bfa5a94dd71e701d3818e6fd5b0adf2866af541cad6745dda712e8a3/vlcsnap-2026-08-06-12h11m58s099.png" data-mid="251411538" border="0"  src="https://freight.cargo.site/w/1000/i/3a0c9540bfa5a94dd71e701d3818e6fd5b0adf2866af541cad6745dda712e8a3/vlcsnap-2026-08-06-12h11m58s099.png" /&#62;


The beautiful thing about independent cinema is that those images will remain archived forever, and making film, in and of itself, is making history. - Ayelén Agüero
How did Tierra Citrus come about?

It came about at a time when I was traveling a lot to visit my mother's family in Alpachiri, Tucumán. I have a rural working-class family that has always worked in the potato and lemon harvests. Later, much of it grew out of a close connection I maintained with my Aunt Kika. She reminded me a lot of my grandmother because of the way she spoke; both held a matriarchal role within the family. Tucumán is a province of matriarchs, and I set out to portray this community. The film started as a photo essay, a visual investigation based on the role of rural bodies and the identity of Northern Argentina.


How was the film's development and assembling the crew?

I made it in parts. I treated it as an exercise in capturing moments, instances with my family, and the colors and details that felt familiar to me: the sants, the altars, the hills, the houses. Then I started a treatment that took some time, and I wrote the script during the pandemic.

I found the crew as the project's development progressed. A lot of people helped me, especially the editors, Julia Straface and Verónica De Cata, who helped me assemble the narrative structure that was floating around in my mind. It’s an independent Argentine film that unfolds as a documentary, but incorporates fiction to tell certain details with a more optimistic lens.

What about the sound design work?

The film's sound design was based on sounds that are familiar to me and could build the universe of Tierra Citrus: from the silence during siesta time to passing motorcycles, the TV on, the radio, and barking dogs. We worked to convey that soundscape alongside Paula Ramirez, the film's sound designer. People have also told me that the movie is very quiet or that there’s little dialogue. The thing is, in Northern Argentina, people speak more deliberately and slowly, and they also speak less. So I wanted to convey that feeling of sitting at any family table in Alpachiri, where people are calmer and outside sounds stand out, acting as a constant soundtrack.

Where can we watch it?August 27, 28, and 29 (8:00 PM): Tucumán Premiere — Sala Hynes O’Connor.September 2 and 9: Buenos Aires — Sala Lúcida (Av. Cabildo 4740).September 2 to 9: La Plata — Buenos Aires Province International Film Festival (FICPBA), Panorama Argentino section.October 10 (6:30 PM): Vicente López — Cine York.Buenos Aires — Museo del Cine (date to be confirmed).&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/7d436901086c5c210f454b67a18c4447af1c84e978f334bf05151b3ac9b981e4/vlcsnap-2026-08-06-12h14m14s577.png" data-mid="251411573" border="0"  src="https://freight.cargo.site/w/1000/i/7d436901086c5c210f454b67a18c4447af1c84e978f334bf05151b3ac9b981e4/vlcsnap-2026-08-06-12h14m14s577.png" /&#62;&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/ac7f6e83d8dcf670cccdafa78b5bdd29b34796b58259a4a0e8e50d4ce9575db1/vlcsnap-2026-08-06-12h11m31s863.png" data-mid="251411571" border="0"  src="https://freight.cargo.site/w/1000/i/ac7f6e83d8dcf670cccdafa78b5bdd29b34796b58259a4a0e8e50d4ce9575db1/vlcsnap-2026-08-06-12h11m31s863.png" /&#62;Any message for audiovisual workers and independent creators?

Don't abandon your goals of making movies and telling stories; I feel like the world needs us today. Even though we are in a global crisis and streaming platforms have taken over movie theaters, let's keep trying to find ways to tell our realities in any format. This film was made on a very low budget and in guerilla style. I hope it can serve as a catalyst to inspire audiovisual filmmaking and the independent production of other films. The beautiful thing about independent cinema is that those images will remain archived forever, and making film, in and of itself, is making history.

&#60;img width="2048" height="858" width_o="2048" height_o="858" data-src="https://freight.cargo.site/t/original/i/1f85b4b95340678c6131f0584babcc675f169bd367dd9e7c9a809a8a0cd673dc/vlcsnap-2026-08-06-12h12m14s594.png" data-mid="251411577" border="0"  src="https://freight.cargo.site/w/1000/i/1f85b4b95340678c6131f0584babcc675f169bd367dd9e7c9a809a8a0cd673dc/vlcsnap-2026-08-06-12h12m14s594.png" /&#62;</description>
		
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		<title>KINO PALAIS AND THE YEAR I FELL BACK IN LOVE WITH CINEMA</title>
				
		<link>https://galaxia2000.com/KINO-PALAIS-AND-THE-YEAR-I-FELL-BACK-IN-LOVE-WITH-CINEMA</link>

		<pubDate>Thu, 06 Aug 2026 20:53:48 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/KINO-PALAIS-AND-THE-YEAR-I-FELL-BACK-IN-LOVE-WITH-CINEMA</guid>

		<description>KINO PALAIS AND THE YEAR I FELL BACK IN LOVE WITH CINEMA
 Barbara Niveyro in Conversation with Germán Fernández


	I’ve known Germán since 2009, and Kino Palais (now located at the Casa Nacional del Bicentenario) was always his nervous system. His fire, his game, and in a way, our shared complicity. Because while Germán and I will always be connected by vinyl records, his son who is my nephew, a tenderness for cats, and the Villa Mitre neighborhood, above all else, it’s cinema that binds us. But not cinema from a film-geek perspective (I’m an outsider to that species), but rather from a vulnerable, hands-on, and community-driven lens.

To step into independent cinema is to pretend to be men merging their shadows over the Sumida River (Wim Wenders), a blue-clad Lucrecia Martel shattering glasses under the scorching Salta sun, and Isabella Rossellini directing The Saddest Music in the World contest on her draft-beer legs (Guy Maddin). Independent cinema is also the mystique of Kino Palais: it’s a gathering circle, and it’s an experiment. And in this year when I re-encountered this love, I wanted to close it out by chatting with Germán about the refuge Kino represents for alternative souls.

From Buenos Aires to the world.

&#60;img width="1189" height="824" width_o="1189" height_o="824" data-src="https://freight.cargo.site/t/original/i/97404876da8d222087a65a8b8b72d6932cfbeb83fdf40be4f98c6b800494d30f/image.jpeg" data-mid="251037153" border="0"  src="https://freight.cargo.site/w/1000/i/97404876da8d222087a65a8b8b72d6932cfbeb83fdf40be4f98c6b800494d30f/image.jpeg" /&#62;

Hi Germán! Can you tell us what Kino Palais is, and if there’s a leitmotif that defines the heart of the space and project?

Kino Palais (@kinopalais) is an alternative space dedicated to cinema and disciplines linked to the audiovisual universe, exploring diverse perspectives ranging from experimental to independent film. Its programming encompasses auteur cinema, creative documentaries, and video art.

Recently, we’ve expanded into the performing arts, becoming a venue and co-producer for performances where visual elements step back to make room for more sensory experiences. This includes performative installations, readings, and events where the lived experience takes precedence over traditional narrative.

Since 2018, we’ve been based at the Casa Nacional del Bicentenario. Being a state-run space, all of our activities are free and open to the public.

“I’m pleasantly surprised by how more and more people are actively seeking experiences in cinema halls, theaters, or performances—not just to watch, but to feel.” — Germán Fernández

How did Kino Palais come to be?

The project started in 2008 through Rubén Guzmán. As a filmmaker, he was deeply involved in the world of experimental cinema and wanted a place to foster this kind of film. Before Kino Palais, the space at the Palais de Glace operated as an INCAA venue, and the original idea was to make a radical shift and not limit ourselves strictly to national film.

How does the team work, and what is your role? What other projects do you collaborate with?

Currently, there are two of us. José Ludovico is more connected to national cinema, working as a programmer for several festivals across the country. He’s the one who knows and sees everything happening on the festival circuit before it gets released. I’m responsible for organizing and managing everything related to experimental cinema, and primarily international films.

How is December treating you?

We’re very happy. Great things always happen at the end of the year. We were one of the venues for the first edition of the Infinito Super 8 festival, which hosted an open community workshop, followed by a showcase of the finished projects. The festival is organized by friends who have been working with physical film formats for years.

We also took part in Primavera Noise, a noise and drone music festival, where we screened three documentaries on the subject. And we’re closing out the year with a festival called Light Matter, based in Alfred, New York. We’ve hosted it twice before, making this our third edition—and it’s worth noting that it’s completely free. It’s fantastic because it focuses on new technologies in experimental cinema, presented across many formats and from all over the world. Its director and curator, James Hansen, will be here in person to present it.

&#60;img width="1276" height="1600" width_o="1276" height_o="1600" data-src="https://freight.cargo.site/t/original/i/50861b35dc562db5be16521ce1942c57e235c97d0daedee61fa9cefb06835b56/image.png" data-mid="251037152" border="0"  src="https://freight.cargo.site/w/1000/i/50861b35dc562db5be16521ce1942c57e235c97d0daedee61fa9cefb06835b56/image.png" /&#62;

What new things did 2024 bring for you?

We’re expanding our offerings toward audiovisual works that transcend traditional cinema. Recently, we embarked on a co-production that wasn’t film in the strict sense, but rather a performative installation titled Una boca de memoria (A Mouth of Memory). Created by Sandy Pauli, a German artist who has lived in Argentina for years, the work explores the diaries of her grandmother, who lived through the occupation of Berlin in World War II. The project was developed collaboratively between Pauli’s team—featuring actors, live music, and sound and textile installations—and us, providing the necessary resources to complete and assemble the piece. The run was a huge success, and it’s already scheduled to return next year before touring other cultural spaces.

This year we also introduced new initiatives, such as the Tesoro series, which featured works in a hybrid format between fiction and documentary, accompanied by readings of production journals that offered rare insight into the creative process.

Uruguayan artist Guillermo Amato also came to present El Vacío Espléndido (The Splendid Void), a video essay constructed from multiple visual and sound fragments made in collaboration with several artists.

One milestone we’re most proud of was our tribute to Narcisa Hirsch, the mother of Argentine experimental cinema, who passed away in May at age 95. In collaboration with Macarena Cordiviola, we organized a series dedicated to her work. We didn't just revisit her fundamental pieces; we also invited her collaborators to dive deep into her legacy and offer the public a unique window into her creative universe.

What plans do you have for next year?

There are series we want to bring back due to the strong interest they generated. One of them is Un lugar en que nunca estuvié (A Place I’ve Never Been), which showcases documentaries about unexpected corners of the world and the fascinating stories or figures that viewers discover through cinema. In 2024, the series included works from Greece, Montenegro, Siberia, and the Sahara Desert, and it had a fantastic reception.

We will also continue to support Argentine cinema, which is going through a very severe crisis—not only regarding INCAA funding support, but also due to a major crisis in film distribution and exhibition. Independent screens and circuits are disappearing. We rely on a network of acquaintances who organize screenings and film cycles, like La Nave de los Sueños and the film space at the Conti Cultural Center, with whom we share information and programming.

Production companies desperately need places to project their work. They pass films to us because they feel an urgent need for the movie to be shown on a real screen with a live audience. Unfortunately, films have a limited theatrical shelf life. We obviously feel a responsibility to present as much as we can; we can’t always satisfy every demand, but this is the cinema we prioritize.

What reflections can you share regarding new cinema and music?

We live in an age where everything moves at a dizzying speed. There’s a tendency to consume cinema and music almost instantaneously, as if there were an urgency not to be left out of what’s currently trending. It’s as if this content carries an expiration date dictated by fashion, losing its relevance if it isn't enjoyed at the exact right moment or if you miss out on the current conversation. That’s why it’s always good to revisit works from the past—or even the recent past.

What are your thoughts on new technologies and cinema?

Despite the constant bombardment of images and stimuli coming from screens, advertising, and social media, the physical cinema hall seems to be regaining its place as an artistic refuge. I’m pleasantly surprised by how more and more people are actively seeking experiences in cinema halls, theaters, or performances—not just to watch, but to feel.

While streaming platforms dominate mass consumption, their catalogs are largely limited to commercial cinema, with rare exceptions for festival films. One thing about cinema is that even when we all know a certain movie will land on a streaming platform in two months, everyone still wants to experience it in a theater first. More and more viewers are beginning to value the irreplaceable experience of attending a live cultural event, where the emotional and sensory connection is unmatched.

&#60;img width="1600" height="1066" width_o="1600" height_o="1066" data-src="https://freight.cargo.site/t/original/i/bc3f28ea0752d75ad5ba5299a8367f48e752568d341d534acf599b9be30b40bf/image.jpeg" data-mid="251037151" border="0"  src="https://freight.cargo.site/w/1000/i/bc3f28ea0752d75ad5ba5299a8367f48e752568d341d534acf599b9be30b40bf/image.jpeg" /&#62;

If money and politics weren’t obstacles, what do you dream for Kino’s future? Limits off—delirium and science fiction allowed.

Without reaching for an impossible ideal, but reflecting on our current reality, we believe it doesn't take that much to keep growing. We would love for our space to become a fertile ground for workshops and the development of creative projects, centered on exchanging ideas and artistic experimentation—something we used to do in the past.

We would also love to have more screening days and events, though that doesn't depend solely on our initiative. The key lies in having the necessary human resources to generate and support these activities.

Another pending debt is producing content and archives documenting the artists who have passed through here. In 2023, using our 15th anniversary as an opportunity, we were able to conduct interviews with several artists (links below).

It’s December and I’m getting sentimental. Any words of encouragement or inspiration for audiovisual workers who had a tough year?

As for cinema, we have to weather this crisis and wait for the return of development and production policies for our national cinema. There is still much to recover and fight for, but in the end, that is what keeps us alive. Though it might sound like a cliché, cinema is a fundamental, defining part of our national culture. They won't be able to turn off the lights that easily.

Anything else you’d like to add?

You can follow us on our social media, @kinopalais, and we are always open to anyone who wants to reach out, chat, share ideas, or propose projects. Our space is open to collaboration and exchange.
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		<title>Ursula and the Art of Learning from Another Place</title>
				
		<link>https://galaxia2000.com/Ursula-and-the-Art-of-Learning-from-Another-Place</link>

		<pubDate>Thu, 08 Aug 2024 03:13:30 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Ursula-and-the-Art-of-Learning-from-Another-Place</guid>

		<description>

Ursula and the Art of 
Learning from Another PlaceIn conversation with Barbara Niveyro
I met Ursula in 2015 through a mutual friend, probably in a bar or in one of the hallways of 'the league' (The Art Students League) in New York, during that hazy time of our early twenties, filled with enjoyment and lingering questions. Ursula, besides being a vibrant artist like the colors on her canvases, is a consistent woman, as her words, ideas, and actions hug one another. She is also, at times, a woman-child, which is reflected in some of her artistic traits and because she retains the treasure of innocence. Today, she exhibits at the New York Academy of Art, and this is my way of honoring her. Please, come and read.

All the artworks in this article are by Ursula.

&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0f8509f7a0e0ae17dccf533ac49dafc9fc790b2f33332fae8e305822943cc54d/_DEB7445.JPG" data-mid="216022316" border="0"  src="https://freight.cargo.site/w/1000/i/0f8509f7a0e0ae17dccf533ac49dafc9fc790b2f33332fae8e305822943cc54d/_DEB7445.JPG" /&#62;
How would you advise someone who wants to pursue painting but doesn't know where to start?

I would start with the hardest part: it is very difficult to make a living from art and it requires many sacrifices. Everything is very relative and you will encounter many struggles. Success is not necessarily rooted in effort and talent, as it is often a classist world full of elites, which can lead to high levels of frustration. However, this does not mean that there is no room for people outside this world; although the struggles may be longer, anything is possible.

I would recommend applying for residencies, researching if the work dynamics and interests are compatible. This way, your chances will be greater, and once in these programs, it will be easier to create and discuss your projects if you seek out spaces that align with your vision. Also, if you have the opportunity to travel and connect with other communities, your knowledge and ways of thinking, in my experience, will greatly influence your growth.

One of the most important things is to be willing to learn from others. Education in painting does not necessarily have to be at the university level, but learning the basics and how to use mediums is essential to building and deconstructing the ideas you want to portray. I believe arrogance is a bad quality in an artist. It is good to believe in yourself and your talent, but you do not need to be arrogant. Arrogance can sometimes hinder your growth, and in art, criticism is something you will have to deal with constantly. It is okay to receive it and take the good and leave the bad with humility and maturity.

If you had to self-portrait with one of your works, which would it be?

I have done some self-portraits, and I believe these come closer to a true representation of myself. Even if they are not realistic, for me they portray who I was at the moment I created them. I like self-portraits because I consider them a valuable way to understand my mental state at that time. 
I also believe that, at times, I see myself reflected in my work in various ways. I often start from imagination to create my images, which can lead me to use my own figure as a model frequently. Since it is the only physical figure I have at the moment of painting, this influences the final result.

&#60;img width="2490" height="3626" width_o="2490" height_o="3626" data-src="https://freight.cargo.site/t/original/i/d103205e7a3778e4c70b25f1f725b20a56dae431bd1c7dba6ad35e7076317733/Imagen-de-hombre-exotico-2023-Acryliconcanvas-66x60inch.jpg" data-mid="216022359" border="0"  src="https://freight.cargo.site/w/1000/i/d103205e7a3778e4c70b25f1f725b20a56dae431bd1c7dba6ad35e7076317733/Imagen-de-hombre-exotico-2023-Acryliconcanvas-66x60inch.jpg" /&#62;
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&#60;img width="2147" height="3018" width_o="2147" height_o="3018" data-src="https://freight.cargo.site/t/original/i/9700799037f130afb5bbd74d65f401b5628840a199d96014cc5ef8ba18e979d2/ruta-de-la-muerte-5.jpg" data-mid="216022362" border="0"  src="https://freight.cargo.site/w/1000/i/9700799037f130afb5bbd74d65f401b5628840a199d96014cc5ef8ba18e979d2/ruta-de-la-muerte-5.jpg" /&#62;
1) Imagen de hombre exotico 2) Autoretrato 3) Ruta de la muerte

Your art is political. Why? What issues concern you?

I believe that art always takes a political stance. Artists do not just paint from imagination or feeling; they also represent the social and political moment in which they live. As we grow and understand the world better, art accompanies us and reflects the reality of our environment. I grew up in Peru, a country with deep social, economic, and political problems since the time of colonization. Like many Latin American countries, our communities have suffered various tragedies and abuses. Talking with my father about his youth leads to stories of dictatorships, poverty, and corruption; if I speak with my grandfather, I hear similar accounts. Peru lives in constant violence from the state.

From the rubber boom in the 19th century, through the exploitation of guano, to the current illegal mining, we have seen the devastation of indigenous communities, water pollution, and deforestation of the Amazon. The communities of the jungle, the highlands, and the coast suffer dehumanization and degradation. It is painful to see the country I love being destroyed by criminal thieves who have no interest in improving the lives of the majority of the population.

&#60;img width="4196" height="3541" width_o="4196" height_o="3541" data-src="https://freight.cargo.site/t/original/i/dc06313180c948f3e9c3c24db5b213e6b60a8bff133b5f21220dd43e892e224e/historia-de-una-dictadura-1.JPG" data-mid="216022317" border="0"  src="https://freight.cargo.site/w/1000/i/dc06313180c948f3e9c3c24db5b213e6b60a8bff133b5f21220dd43e892e224e/historia-de-una-dictadura-1.JPG" /&#62;Historia de una dictaduraI was fortunate to grow up in a home where I never lacked anything, and I often feel guilty for having been detached from the reality of the country for years, being an ignorant and indifferent person. In my house, politics was discussed among adults, but we weren't taught much about it, and in school, they didn't delve deeply into the history of Peru and Latin America. They taught more about Europe, and it was necessary for me to leave the country to understand my origins and gain valuable lessons about life and humanity.

Although my art strongly criticizes politics and the use of power, I believe its only purpose is to reflect a world in decline, even though I don't know the objective of those who perpetuate this situation. The injustice I observe troubles me, and I find the indifference towards these problems incomprehensible.
Have you collaborated with other artists or thinkers?

When I returned to Lima in 2016, I collaborated significantly with several emerging artists. I came back to create a cultural space where artists in the country could develop and exhibit their projects. Over the next four years, I worked alongside various artists, assisting them with installation processes and engaging in conversations about their work. This period was one of the most beautiful times of my twenties, and I learned different ways to create. Each artist was different: one was a photographer, another a ceramist, and another a painter. Among the artists were Eu Taze, with his gigantic cardboard sculptures; Javier Bravo Rueda, a ceramist who experimented a lot with firings and created abstract pieces; and José Carlos Tassara, a painter who, while conversing, could create images in a matter of minutes.

Additionally, during my early years in New York, I met many artists and good friends who remain part of my life at The Art Students League. During my time there, I engaged in discussions that helped me grow in my work. Betty, an older lady, became very important to me during those years when I was experimenting with abstract art. We did some collaborations that I cherish as my best moments in New York.

How has your relationship with technology evolved in your creative process?

I don't have much of a relationship with technology. I work with my hands and create in a very traditional way, using canvas and paint. I also experiment with ceramics in an artisanal manner and with printmaking, which I learned traditionally. I am not very tech-savvy, and so far, it hasn't been necessary for my art. I enjoy painting and creating things manually. However, at some point, I would like to explore installations and work with video and sound. That would be my potential path into technology in art.

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1) Semillas 2) Femicide

Who inspires you? What's your creative process like?

Art is a language that connects us all, and what inspires me is the possibility of creating that connection between Latin America and the rest of the world. 

Who was Ursula in 2014, and who is she in 2024?

In 2014, I was painting abstract art and thought that studying academic art was a waste of time. Life was hard, and living in New York was often difficult. I understood what it was to be discriminated against because of my skin color and my place of origin. I spent a lot of time alone, painting constantly, but I was still far from understanding what I really wanted to paint and why I was fighting so hard to make art. I wanted to leave Lima and never return. However, I grew enormously, met many people from different places, and learned about various cultures thanks to them. Although I had a thousand stories and it was chaotic in many ways, I enjoyed that period a lot. Finally, I returned home to Lima in 2016 and realized how much I needed to be away. Despite everything, I am very grateful for those years.

In 2024, I returned to New York, and this time it was much more difficult. I suffered a lot from being far from home. Being older and more immersed in reality brought me a lot of sadness. I went back to school to study academic art. Now I am finishing a series of works that I am very proud of. I am sure of what I want to paint and who I want to be. I learned to accept criticism, to be more humble, and to love my Latin American identity. I dream of showing my work, understanding that the struggle is long but believing that it is possible.

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Ruta de la muerte 3</description>
		
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		<title>Meet the Women Shaping Argentina's Art Scene: Historias Entre Lienzos </title>
				
		<link>https://galaxia2000.com/Meet-the-Women-Shaping-Argentina-s-Art-Scene-Historias-Entre-Lienzos-1</link>

		<pubDate>Fri, 12 Jul 2024 22:09:10 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Meet-the-Women-Shaping-Argentina-s-Art-Scene-Historias-Entre-Lienzos-1</guid>

		<description>
Historias Entre Lienzos:
Meet the Women Shaping 
Argentina's Art SceneBy Barbara Niveyro

Historias Entre Lienzos (Stories Between Canvases) is the first virtual archive of Argentine women artists. It features biographies, documents, and images of artists' works from the 19th and 20th centuries. Founded by Guadalupe Lobeto (Columbia University) and Paloma Etenberg (Goldsmiths, University of London), the project followed their experience at institutions like the Guggenheim Collection in Venice, the Museo de Arte Moderno in Buenos Aires, and Praxis Gallery in New York. In 2019, they partnered to create Historias Entre Lienzos, which was declared a project of national interest by the National Congress in 2022.

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Guadalupe Lobeto and Paloma Etenberg

What is the project Stories Between Canvases?

Historias Entre Lienzos began as a research project in 2019 due to the lack of information on Argentine artists, especially women artists from the 19th and 20th centuries. This gap led to a bias in their study and recognition. The initial research involved surveying museum collections, galleries, libraries, and archives. We also reached out to art historians, managers, artists, and their families to create a comprehensive archive of these women artists born or living in Argentina. Today, our team visits institutions, archives, collectors, and interviews artists' descendants to continuously enrich the archive.


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&#60;img width="1200" height="856" width_o="1200" height_o="856" data-src="https://freight.cargo.site/t/original/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" data-mid="214572190" border="0"  src="https://freight.cargo.site/w/1000/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" /&#62;
&#60;img width="629" height="470" width_o="629" height_o="470" data-src="https://freight.cargo.site/t/original/i/0f87d0dbc5d48ae40c33e54252706c813934757d412f20aa39c640940668a09a/Leonie-Matthis--Descanso--s_f--oleo-sobre-tela--103-x-137-cm.-Ubicacion-desconocida.jpg" data-mid="214572279" border="0"  src="https://freight.cargo.site/w/629/i/0f87d0dbc5d48ae40c33e54252706c813934757d412f20aa39c640940668a09a/Leonie-Matthis--Descanso--s_f--oleo-sobre-tela--103-x-137-cm.-Ubicacion-desconocida.jpg" /&#62;
1) Raquel Forner, Mujeres del mundo, 1938, Fundación Forner-Bigatti
2) Sofía Posadas, El sueño de San Martín, Museo Histórico Naciona
3) Lía Correa Morales, Retrato de Madame de L., 1929, Museo Provincial de Bellas Artes Franklin Rawson
4) Léonie Matthis, Descanso, ubicación desconocida

What are the stages that the project had?

At first, we were working side by side, just the two of us. This lasted about a year until we were able to launch our website and decided to expand our team. Since then, we have been coordinating an internship program with students from the Universidad de San Andrés in Buenos Aires. We receive around three interns per year, which has been a brilliant experience so far and has helped optimize our process and expand our database more rapidly and effectively. 

Our current goal, given that we have more of a structure, is to dive deeper into the life and work of a selection of artists, and include testimonies, interviews, primary sources, and so on. Additionally, we would like to revitalize our website and add filters and new tools that make the overall navigation experience and the browsing process easier for users. 

What is the journey of finding a new artist like?

Over the years we have put together a very large list of names we retrieved from the Salones Nacionales, from archival materials, from the press (current and historical), exhibitions we visit, and, of course, very valuable suggestions that we receive over email from people who reach out. So, when we are ready to start looking into a new artist, we open that list and choose from there. That’s typically our starting point.

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Can you share an example of an artist that you added to Historias Entre Lienzos and how that process went?

One of our favorite artists is Andrea Bacle, a Swiss artist who moved to Buenos Aires during the first half of the nineteenth century and became the first woman to engage in lithography. Not only that, but she was also a key figure in the formation of the Argentine national identity as she developed the first images of illustrious characters of the time such as Belgrano, Rivadavia, Alvear, Paz, Dorrego, Guido, Saavedra, Vicente López, Figueredo, Agrelo, Pedriel, Cavia, and Arenales, among others. The process of researching her involved reading all the available bibliography and papers already done on her, as well as contacting specific museums to review their material. In this case, the Museo Histórico Nacional in San Telmo was truly gracious and shared with us lithographs that we had never seen before.


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&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/aa17f434eec6384cda4ab34b450f07a8e6e6216180a0b0e3cbab7a4162d84b32/Andrea-Bacle-Retrato-del-General-Manuel-Belgrano-1830-Grabado-40-x-48-cm-Museo-Historico-Nacional-1-400x516.jpg" data-mid="214572200" border="0"  src="https://freight.cargo.site/w/400/i/aa17f434eec6384cda4ab34b450f07a8e6e6216180a0b0e3cbab7a4162d84b32/Andrea-Bacle-Retrato-del-General-Manuel-Belgrano-1830-Grabado-40-x-48-cm-Museo-Historico-Nacional-1-400x516.jpg" /&#62;
Andrea Bacle's portraits of 19th-century Argentinian próceres
What other projects/artists/thinkers do you collaborate with?

We are constantly in touch with museums, galleries, foundations, private collections, and the family of the artists we research. The Museo de Bellas Artes de La Boca de Artistas Argentinos Benito Quinquela Martín truly helped us a lot in researching artists from the historic neighborhood of La Boca, such as Cata Mórtola de Bianchi. The Complejo Museográfico Provincial Enrique Udaondo generously shared their complete list of women artists with us. The archivist from the Museo Nacional de Bellas Artes was also of tremendous help, and the Museo Casa Yrurtia taught us a lot about Lía Correa Morales and Julia Wernicke. These are just a few examples of museums that collaborated with us, but the list is much longer (you can read the entire list on our website), and I’m happy to say that they have all been extremely generous.
Historias Entre Lienzos would not have been possible without the generosity of the descendants of the artists and many artists who very kindly support us in many ways. In the process, we have become quite well known in the local scene and, in 2022, we were approached by the National Congress to receive a condecoration: they declared Historias Entre Lienzos a project of national interest!

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Paloma Etenberg and Guadalupe Lobeto receiving the condecoration by the 
National Congress when Historias Entre Lienzos was declared of national interest

Suggestions for people in similar initiatives who don't know where to start?

Our recommendation would be to start slowly and on a smaller scale, to identify very clearly what is the issue you are trying to address or help resolve and see where that goes. Also, creating solid and enthusiastic teams is key! It’s always great to have support, from the inside and from the outside – a good network to collaborate with makes the difference.
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