{"id":20229,"date":"2022-06-20T17:31:17","date_gmt":"2022-06-20T17:31:17","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=20229"},"modified":"2022-06-20T18:12:45","modified_gmt":"2022-06-20T18:12:45","slug":"agustina-woodgate","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/agustina-woodgate\/","title":{"rendered":"Agustina Woodgate"},"content":{"rendered":"

\"\"Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates’ approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing clarity, scale, and accessibility.<\/p>\n

In 2011 she co-founded radioee.net<\/a> a nomadic, translingual, online radio station. In 2015 she co-founded TVGOV, a media company providing ecological data visualization. And in 2018 she co-initiated PUB<\/a>, an experimental publishing platform within Sandberg Instituut, Amsterdam.<\/p>\n

She is currently a tutor at the Disarming Design Master Program<\/a> at Sandberg Instituut Amsterdam and is actively teaching workshops in several universities and organizations.<\/p>\n

Her projects have been commissioned by BIENALSUR 2021, 2019 Whitney Biennial, 4th Istanbul Design Biennial; Haus der Kulturen der Welt, Berlin; 9th Berlin Biennial; Peabody Essex Museum, MA; Bienal de las Am\u00e9ricas, CO; ArtPort, Tel Aviv; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington; The Bass Museum of Art, FL; Storefront for Art and Architecture, MN and KW Institute for Contemporary Art, Berlin amongst others.<\/p>\n

\"\"
Agustina Woodgate, The Source, 2019,\u00a0Miami oolite, concrete, iron, plumbing grid, water.
108 x 108 x 108 in. Photo by Steven Sierra; courtesy of Art Basel and Barro, Buenos Aires, Argentina.\u00a0
Installation view in Collins Park, The Bass Museum, City of Miami Beach.<\/figcaption><\/figure>\n
\"\"
Agustina Woodgate, National Times, 2016-2019. Close-circuit network of clocks synchronized directly by the power grid. Photograph by Ron Amstut. Installation view of the Whitney Biennial 2019 (Whitney Museum of American Art, New York, May 17-September 22, 2019).<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates’ approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-20229","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/20229","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=20229"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/20229\/revisions"}],"predecessor-version":[{"id":20263,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/20229\/revisions\/20263"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=20229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=20229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=20229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}