With the participation of: Antonio Augusto Bueno, Andrea Finkelstein, Mauricio Guridi, Gustavo Martínez, Marcos Medina, Rosina Peluffo and Emilia Rovira. In the form of a triptych, like Giacomo Puccini’s Il trittico, Dante Alighieri’s The Divine Comedy or The Garden of Earthly Delights by the Dutch painter Jheronimus Bosch, the exhibition is divided into three acts and takes place in three rooms on the second floor of MAPI. A

lthough they could coincide with the Christian idea of heaven, purgatory and hell, they consist of the presentation of a free idea about the history of what today we call the American continent. A story about the time before the arrival of the Europeans, the conquest and resistance up to the present day and the relationship between this and the other continents and their cultures. In its three rooms Tabares investigates different aspects that have to do with the regional.

The first reflects on the history, use and customs of Yerba Mate, from the Guarani tradition, the Jesuit missions and the regional gaucho culture to what we have inherited from those cultures. “I have approached it from different angles and one of them is the aesthetic. I have carried out various experiments with the water from the mate, using it as ink for painting and drawing.

A second room presents engravings, objects and sculptures from the Yvy Mara`y series; a Guarani concept related to the Land Without Evil, a kind of Guarani mirror of the Jewish Promised Land and a better world. The third room is a sensorial and participatory installation where several series of artist’s books, sculptures and collages of what I call “This, while it is history” are presented. They are a compilation of thousands of images that dialogue with each other generating new texts that aim to build a story from personal concerns based on investigating and evidencing contradictions in the concept of civilization.”

The articulation of these stories focuses on representation and the tensions produced within the consumer society, the art system, collections and archives, hereditary and identity, memory, addictions, popular beliefs and religions, the culture of sex, pornography and taxonomy. A kind of epistemological atropofagia that results in a kind of vomit where the appropriations he makes are revealed, resulting in political pieces from a decolonizing perspective, as a need to challenge the poetic and aesthetic to distort politics.