Osías Yanov’s exhibition borrows its title from a 1968 painting by little-known Paraguayan artist Fernando Grillón. As usual for Yanov, his works interweave references to a multiplicity of instances and experiences that he finds meaningful in order to articulate a preoccupation relevant to today. And what he has to say is never linear or illustrative, but rather a suggestive set of layers of diverse meanings. In the ground floor a large sculpture suggests a booth in a public restroom, perhaps in a nightclub, where an encounter is taking place. Yanov then transforms the transitional space of the staircase leading to the basement into an exhibition room, displaying a series of collages made on structures he has rescued from a gay sauna popular in Buenos Aires in the 1990s. These assemblages function as a sort of documentation of publications and media specific to the local gay community from those years until now: classified ads for encounters, cruises, AIDS prevention. Also included are images from a photographic session organized by the artist documenting a sexual encounter in which the Pink Panther participates, which refers to a style of gay porn imagery that is currently in circulation. It aims to reflect on how in the decades since the military dictatorship, gay culture has become mainstream, making visible a kind of critical archeology of the gay movement in Argentina.
In the basement, a rarefied living-dining room, remotely inspired by Grillón’s painting, is surrounded by a work that quotes Xul Solar —an Argentine esoteric avant-gardist of the early XX century—, and another that alludes to our dependence on screens and the internet. On the table lies a Gente magazine (local version of People magazine) published a few months before the military coup of 1976, featuring on the cover the then commander-in-chief soon-to-be dictator Videla next to the Pink Panther. To one side of this “dining room” of sorts, a series of caged works of art.

Osias Yanov is a multidisciplinary artist whose practice includes performances, celebrations, installations, sculptures, collages, drawings and videos. His works explore the creation of conceptual and sensory fields of resistance against any stereotypical control of subjectivity.
Yanov believes in the experiences of the senses, the erotic and the esoteric as tools to create knowledge, social agency and transformation.
He was a founding member of Rosa Chancho art collective. He participated in the Kuitca/ Universidad Di Tella Fellowship in 2011-12. In 2015 he was commissioned by MALBA, to develop a sculpture and performance project, VI Session in Parliament. In 2016 he realized aproject at Casa del Alabado, Quito, Ecuador curated by Manuela Mosco and Pablo Lafuente. In 2017 he participated in the Gwangju Biennial, South Korea, curated by Maria Lind. In 2018 he was awarded the Gasworks Residency in London. In 2019 she was commissioned to develop Coreografías de Sal, a performance project that involved months of research and workshops at Faena Arts Center in Buenos Aires. In 2020 he had a prominent participation in the Berlin Biennale, curated by Agustín Pérez Rubio, Lisette Lagnado and Renata Cervetto. That same year he was awarded the DAAD Artists-in-Berlin residency program. In 2022 he presented a project at the MACBA in Barcelona, Spain and was distinguished with the Konex Award in Performance in Argentina. In 2023 he participated in a festival at the Museo de Arte Moderno in Mexico City and in the Gothenburg Biennial, Sweden.

His works are in the collections of the Museo de Arte Moderno de Buenos Aires; Los Angeles County Museum of Art; Centro de Arte Dos de Mayo (CA2M), Madrid; Museo Reina Sofía, Madrid; Museo de Arte Latinoamericano de Buenos Aires (MALBA); FRAC du Pays de la Loire, France; Rose Museum at Brandeis, USA, among other institutions. The exhibition is accompanied by a text by writer Alejandro Modarelli, who specialized in the history of the emergence of gay activism in Argentina.