<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>five minutes ago</em>, 2016</div><div class="medium">sculpture (helmet that inverts time)</div><div class="dimensions">the eccentrics, 2016. sculpture center, new york, usa</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>octopia</em>, 2016</div><div class="medium">installation, performance</div><div class="dimensions">octopia, 2016. museo tamayo, mexico city, mx<br/>
octopia, a project created for the museo tamayo, is the result of an investigation of the octopus, an animal whose intelligence derives from a complex nervous system that extends through its tentacles. for this project, navarro has gathered 80 participants, including choreographers, dancers, and amateurs with the intention of generating a structure that is similar to an octopus, with a head that is operated by eight people and nine more participants extend throughout each tentacle. by gathering these groups of people the aim is to achieve a collective transformation in order to temporarily take the state of this animal, through an exploration of movement and corporal sensitivity.</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>timeless alex</em>, 2015</div><div class="medium">sculpture, performance</div><div class="dimensions">surround audience, 2015. new museum triennial, new york, usa<br/>
eduardo navarro’s commissioned work for the new museum triennial, timeless alex (2015), pivots on the question of how a human body could phenomenologically experience the position of a turtle. eduardo navarro became intrigued by how turtles may perceive time—exemplified by the case of lonesome george, the last living pinta island tortoise discovered in the Galapagos in 1971—and asked how self-awareness of their own longevity might affect their cognition. timeless alex departs from the writings of temple grandin, a writer and autism activist who posited that animals think in pictures and understand life through constant sensorial stimulation – shadows, sounds, and colors – without the language-based abstraction of these senses, and that they, hence, exist without a concept of time. in the exhibition, a sculptural model of a galapagos tortoise is featured alongside a leather skin and face mask. during this two-hour event, the artist himself will become the turtle in an attempt to move slower than language and reach a timeless state of mind.</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>titulos</em>, 2015</div><div class="medium">installation. mural consisting of approximately 700 imaginary titles the artist has written over the last 8 years.<br/>
</div><div class="dimensions">la era metabólica, 2015. malba, museo de arte latinoamericano de buenos aires, argentina</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>xyz</em>, 2015</div><div class="medium">sculpture, installation, performance</div><div class="dimensions">the past, the present, the possible, 2015. 12 sharjah biennial, united arab emirates</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>poema volcánica</em>, 2014</div><div class="medium">custom made anti flame suit, custom made backpack and bamboo shelf for the litmus collages</div><div class="dimensions">12 bienal de cuenca, 2014. cuenca, ecuador</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>horses don't lie</em>, 2013</div><div class="medium">installation, performance</div><div class="dimensions">weather permitting, 2013. 9 bienal do mercosul, porto alegre, brazil<br/>
to create “horses don’t lie” for the 9th bienal, navarro worked together with choreographers from porto alegre in a performance that explores a mode of thinking through mental images that cancel out verbal language and arrive at a trancelike state. this installation presents the attire created for the five dancers that participate in the performance. these attires, which are in part minimal mechanical devises informed by equine anatomy, are less a costume resembling a horse than a kind of human-animal prosthesis.<br/>
link to see a rehearsal: http://vimeo.com/70640945</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>orbita</em>, 2013</div><div class="medium">performance</div><div class="dimensions">ensayo de situación, 2013. di tella university, buenos aires, argentina</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>tratamiento homeopatico para el rio de la plata</em>, 2013</div><div class="medium">installation, container with nux vormica</div><div class="dimensions">aquella mañana, 2013-2014. parque de la memoria, buenos aires, argentin</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>el dorado</em>, 2010</div><div class="dimensions">there is always a cup of sea to sail in, 2010. 29 bienal de são paulo, brasil</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>water purifying station</em>, 2009</div><div class="dimensions">grito e escuta, 2009. 7 bienal do mercosul, porto alegre, brazil</div>
<div class="artist"><strong>eduardo navarro</strong></div><div class="title_and_year"><em>anexo</em>, 2006</div><div class="medium">installation</div><div class="dimensions">jardines de mayo, 2006. buenos aires, argentina</div>
eduardo navarro
five minutes ago, 2016
sculpture (helmet that inverts time)
the eccentrics, 2016. sculpture center, new york, usa

Eduardo Navarro attributes to art the capacity to produce new possibilities of perception about the world that surrounds us. In his oeuvre, he confronts a diversity of organisms, studying them empirically, i.e., as from the sensitive experience. In carrying out these approaches, Navarro resorts to various specialists (scientists, archaeologists, musicians, spiritualists) with the intention of altering pre-established conducts and behaviors.

Navarro approaches each project as a new case study that allows him to investigate ways of thinking and expressions foreign to human perception, and works with the profound interest of investigating how other organisms and elements feel and perceive. The great challenge in the artist's practice is to become what is being investigated. In this way, Navarro proposes changes of situation that provide state transformations, enabling new understandings about what is already known.

Navarro’s work has been featured in numerous exhibitions around the world, including several biennials, such as: SeMa Biennale Mediacity Seoul 2016, Seoul, South Korea (2016); 3rd New Museum Triennial, New York, USA (2015); 12th Sharjah Biennial, Sharjah, UAE (2015); 12th International Biennial of Cuenca, Cuenca, Ecuador (2014); 7th and 9th editions of the Bienal do Mercosul, Porto Alegre, Brazil (2009 and 2013); 29th Bienal Internacional de Arte de São, São Paulo, Brazil (2010); and EV+A International Ireland's Biennial of Contemporary Art, Limerick, Ireland (2009). Recent solo projects and shows include: Into Ourselves, The Drawing Center, New York, USA (2018), and Der TANK, Art Institute – FHNW Academy of Art and Design, Basel, Switzerland (2017); Octopia, Museo Rufino Tamayo, Mexico City, Mexico (2016); We Who Spin Around You, High Line Art, New York, USA (2016); and Órbita, Estadio River Plate, Buenos Aires, Argentina (2013). Main recent group shows include: Metamorphoses – Let Everything Happen to You, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy (2018); KölnSkulptur #9 – La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!, Skulpturenpark Köln, Germany (2017); Sequences Art Festival #8 – Elastic Hours, Reykjavík, Iceland (2017); Tidalectics, Thyssen-Bornemisza Art Contemporary (TBA21), Vienna, Austria (2016); The Eccentrics, SculptureCenter, New York, USA (2016); and La Era Metabolica, Museo de Arte Latinoamericano de Buenos Aires (MALBA), Buenos Aires, Argentina (2015). His works are included in important institutional collections, such as: Museo de Arte Moderno de Buenos Aires (MAMBA), Buenos Aires, Argentina; Sharjah Art Foundation, Sharjah, UAE; and Thyssen-Bornemisza Art Contemporary (TBA21-Academy), Vienna, Austria.