Osvaldo Lamborghini—Argentine essayist, poet, and novelist, and one of the most controversial and singular figures of the 20th century—published three emblematic books during his lifetime.
In 1981, he chose to go into exile in Barcelona. There, confined to the apartment he shared with his last partner, Hanna Muck, he produced an extraordinary body of literary and visual work in an unprecedented burst of productivity. This tribute, marking 40 years since his death, seeks to honor his legacy by bringing together friends, writers, gallerists, archivists, and curators, who will reflect on his work and engage in conversation with the public.
Free admission.
We look forward to welcoming you.
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Galería Del Infinito’s Perspective on the Tribute to Osvaldo Lamborghini
Within the framework of the tribute held at the Biblioteca Nacional Mariano Moreno to mark the 40th anniversary of Osvaldo Lamborghini’s death, Julián Mizrahi—director of Galería Del Infinito—took part in a panel bringing together specialists from the literary and artistic fields, dedicated to revisiting the author’s continued relevance and multifaceted body of work.
As highlighted by Clarín in its coverage of the event, Mizrahi shared a particular approach to Lamborghini that emerged from the field of visual arts. His interest was sparked by previous editorial work on Alberto Greco and by his connection with the Lamborghini Archive, opening a new phase for thinking about and reassessing the author’s visual production, which until now has been less widely disseminated than his literary work.
The article also underscores the challenges involved in introducing Lamborghini’s visual work into the contemporary art field: from the supports and materials he employed—many of them linked to popular or adult-circulation publications—to the curatorial decisions required for their exhibition. Lamborghini’s visual practice, the article notes, retains the same disruptive intensity that characterizes his writing.
For Mizrahi, this instance represents an opportunity for rediscovery: to immerse oneself once again in the author’s visual universe and to approach it with the perspective usually reserved for an emerging artist, allowing the works to activate new readings and contemporary dialogues. Forty years after his death, Lamborghini continues to generate resonances that extend beyond the literary sphere.
An Expanding Line of Work
At Galería Del Infinito, we continue to deepen the research, cataloguing, and exhibition of Osvaldo Lamborghini’s visual work, in close collaboration with the Lamborghini Archive. This joint effort is part of a broader commitment: to open the archives, revisit the intersections between word and image, and contribute to the circulation of renewed perspectives on one of the most powerful and singular figures in Argentine culture.
Source: Clarín Cultura’s coverage of the tribute to Osvaldo Lamborghini at the Biblioteca Nacional.
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Con Nuestros Continentes Errantes, Marcela Cabutti propone un gesto simbólico y material para volver a unir Sudamérica y África, territorios que alguna vez compartieron un mismo suelo.
With Nuestros Continentes Errantes, Marcela Cabutti proposes a symbolic and material gesture to reunite South America and Africa—territories that once shared the same landmass. Presented at the Origins Centre of the University of the Witwatersrand in Johannesburg as part of BIENALSUR, the exhibition draws on geological memory to reflect on the separation of the continents and the possibility of reunion among landscapes, histories, and cultures. The project continues an investigation initiated by the artist in La piedra que predice and articulates science, art, and embodied experience as tools of knowledge.
Curated by Clarisa Appendino and Tammy Hodgsfiiss, the exhibition takes as its point of departure the theory of continental drift and the studies of South African geologist Alexander du Toit, later revisited by Argentine geologist Dalla Salda. Building on these investigations—developed across Argentina, Uruguay, Namibia, and South Africa—Cabutti constructs a trajectory that links the Río de la Plata and Kalahari cratons, ancient foundations of Pangea and Gondwana, reinforcing a shared reading of the deep origins of both continents.
The exhibition brings together a range of interrelated formats: sculptural installations, photographs, sound works, drawings and cartographic archives, as well as editions and objects. Highlights include installations made with stones, soils, and ice; photographic series that explore the horizon as a point of contact between African and South American coastlines; sound works that register the “heartbeat” of the earth; drawings based on historical maps and vitrines with archival materials; and handcrafted editions that expand notions of circulation and drift.
Far from a purely scientific reading, Nuestros Continentes Errantes mobilizes drift as a political and cultural metaphor. Through performative gestures, historical references, and materials drawn from both territories, Cabutti invites a rethinking of imposed separations—geographical, colonial, and symbolic—and imagines new forms of connection between Africa and the Americas, where art emerges as a space of active memory, connection, and repair.
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Margarita Paksa · Corresponding Ideas 1964–1984
Until February 16, 2026
Opening: December 11, 7 pm — Level 1
Curator: Nancy Rojas
We are proud to accompany this major retrospective of Margarita Paksa (1932–2020), a historical artist represented by Galería Del Infinito and a key figure in conceptual and multimedia art in Argentina and Latin America.
A protagonist of the Argentine avant-garde of the 1960s, Paksa was closely connected to the Instituto Di Tella and the Tucumán Arde project. Her production spans sculpture, drawing, installations, multimedia, and video. She worked as a professor and researcher at CONICET, where she led projects on public art and internet art. She gave lectures in Argentina and abroad, and published numerous essays related to her multimedia practice. She received major awards and grants —including the Guggenheim Fellowship, Canada’s FRP Grant, the Fortabat Painting Prize, the Faena Art District Multimedia Prize, and the MNBA Leonardo Award— and took part in the 5th International Cairo Biennial. In 2012, a monograph on her work was published on the occasion of her retrospective at the Museo de Arte Moderno de Buenos Aires. Her works are held in major national and international collections and museums.
The exhibition brings together more than sixty works —graphic pieces, objects, installations, and archival materials— surveying two decades of experimentation and her contributions to new narratives of emancipation, social justice, and gender perspectives.
Malba will publish a bilingual book featuring essays by Nancy Rojas, Daniel Quiles, and writings by the artist herself. This edition offers a renewed and necessary reading of her work, reinstating her pioneering role in the development of conceptual and multimedia art in Latin America.
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