2019-In Collaboration with the Sun
2019-Instant weather prediction
2019-Galactic playground
2019-Cloud consulate
2018-Galactic playground
2018-Into ourselves
2018-Celestial numbers
2018-Metabolic drawings
2017-Five invisible haikus
2017-Into ourselves
2017-Letters to earth
2017-In collaboration with the sun
2017-Hydrohexagrams (for Tahuata)
2017-Seventh window

2016-Sound miror
2016-We who spin around you
2016-Instructions from the sky
2016-Five minutes ago
2015-La mecanica del abecedario
2015-Timeless alex
2014-Poema volcanico
2013-Tratamiento homeopatico para el rio de la plata
2013-Horses dont lie
2012-Estudio juridico mercosul
2010-El dorado
2009-Water puryfing station
2008-Do not feed
2008-Art center chapel
2008-Fabricantes unidos
2005-Primer mataron antitabaco
2003-La sede

*cosmic clown




Please click the text to see the show.

Gasworks presents the first UK solo exhibition by Buenos Aires-based artist Eduardo Navarro. His work moves away from representation, instead creating sensorial experiences with the potential to induce a radical transformation of the self and others.

In recent years, Navarro has sought to adopt the slow metabolism of a reptile, experimented with ways for dancers to embody the physical properties of light, and invited a large group of performers to animate a mechanical octopus, in order for them to become part of its decentralised nervous system.

First scheduled for April 2020, Navarro’s original plans for the exhibition at Gasworks consisted of transforming the gallery into a living, breathing organism. Developed in the months preceding the Covid-19 outbreak, his immersive installation in the form of a gigantic lung was designed for visitors to synchronise their most vital functions with one another, offering a space for collective meditation and oceanic breathing. But the construction of Navarro’s installation would coincide with the onset of a global pandemic with unprecedented effects on our lives. 

As the exhibition was postponed until further notice, Navarro made a habit of drawing every day during the lockdown in Buenos Aires. In his words, this practice enabled him to ‘relocate the studio to inside my own head’. Produced in self-isolation, the one hundred drawings featured in the exhibition became a portal between unknown dimensions and timelines, past and future visions, unrealised and impossible ideas.

Instead of looking back at what the exhibition could have been, Navarro’s drawings resist any melancholy towards the possibilities foreclosed by the pandemic. Inspired by quantum physics, according to which information in the universe cannot be created nor ever destroyed, his drawings metabolise the original exhibition and enact its transformative spirit in a more intimate language.

Sitting in a corner, the viewer encounters Self-Doll (2020), a stuffed humanoid covered in orange fleece. Navarro’s soft and cuddly robot is fitted with a phone compartment, providing a sense of physical warmth in long-distance communications, where Self-Doll stands in for the caller. 

This work was conceived as an emotional support tool for children. However, in a time of strict distancing regulations, Self-Doll has become a surrogate for the artist, acting as Navarro’s proxy in the gallery and for public events. Throughout the exhibition the artist will communicate through the doll at random times, inviting conversations with the audience.
Projected in the second gallery, a hand-drawn animation features a colossal head with a bellows mechanism, reminiscent of Navarro’s unrealised plans to build a large-scale breathing device at Gasworks. Like the universe after the Big Bang, the head expands and contracts at regular intervals. The cyclical nature of Navarro’s cosmology is highlighted in the film’s soundtrack, a recording of the artist’s breathing during a meditation session.

As the sound spills into the main gallery with each exhalation, Navarro’s breathing connects the works in the exhibition, encouraging viewers to sync their biorhythms with one another.

In Collaboration with the Sun

At Mac Niteroi before sunset, seven bodies wearing golden robes, masks and hand mirrors
engage in a collective act in which they reflect the rays of the Sun towards Oscar Niemeyer’s
iconic museum. The work is a continuation of Navarro’s research on human relations to natural
phenomena, including the sun, clouds, wind, stars and cosmos.

Also part of the exhibition are a series of recent drawings by Navarro which present ideas for
Niemeyer’s building as well as possible future projects. This is also the first time in Mac Niteroi’s
23 years of existence that artists from Latin America have solo shows in the museum.

Curated by Pablo Leon de la Barra with Raphael Fonseca.
August 31-2019
February 2-2020

Please click here to see the full exhibition

Instant Weather Prediction

On June 15th, Pivô opens "Instant Weather Prediction", the first solo show by the Argentinian
artist Eduardo Navarro in Brazil. In "Instant Weather Prediction", Navarro departs from his
interest in the wind movement to conceive a large installation comprised of 27 garments that
resemble physical meteorological stations. Together with the dancer and choreographer
Zélia Monteiro, the artist developed a series of movements in which they investigate the visual
strength and the mechanical efficiency of the outfits when in contact to the air wind currents
outside Pivô. This dance will be performed throughout the opening day. 

Please click here to read exhibition text by Fernanda Brener and see photos of the work.

Opening: June 15th from 3pm to 7pm 
Exhibition: June 15th to August 3rd

instant weather prediction



Galactic Playground

Chronos Cosmos: Deep Time, Open Space
MAY 5, 2019 – SEPTEMBER 3, 201
Socrates Sculpture Park

Chronos Cosmos: Deep Time, Open Space transforms Socrates Sculpture Park into a gateway to the universe, presenting artworks that consider space, time, and matter in relationship to celestial entities and earth-bound processes. In the open-air environment of the Long Island City waterfront park, the exhibition uses scale to put the universe in context, creating connection points to space and time.

Chronos Cosmos: Deep Time, Open Space will be on view at Socrates Sculpture Park from May 5 – September 2, 2019. Participating artists include Radcliffe Bailey, Beatriz Cortez, Alicja Kwade, Eduardo Navarro, Heidi Neilson, and Oscar Santillán with new commissions by Miya Ando, William Lamson, and (MDR) Maria D. Rapicavoli.

Informed by Earth’s place amid a vast universe, Chronos Cosmos: Deep Time, Open Spacezooms far out — featuring cosmic perspectives, various scales of time and space, and speculative gestures. Each artist’s own notions of time, history, space, and site challenge the reigning system regulated by technocratic and colonial standards.

Together the works reveal a coexistence of disjointed times in our contemporary world: clocked and measured time, rhythmic biological time, earthly time, the flowing time of human experience, anticipatory time, historical and anachronistic time, serial and simultaneous time, as well as technologically mediated time.

Situating a contemporary consciousness between the origins of the Earth and the expansion of the universe, these works each uniquely orient the viewer in time and space to produce a renewed sense of wonder toward our planet. This perspective creates potential for alternative modes of social relationships, sustainable human/planet co-existence, and political agency.

socrates Sculpture park



Cloud Consulate

Cloud consulate is a optical instrument. It's a combination of a kaleidoscope and a Periscope.
It multiplies the passing clouds creating a fractal. It acts as a shelter, a contemplation device,
and a sensorial vehicle that brings the sky to earth allowing it to fully surround you in order to
reach a floating state of mind.

Ibirapueira Park
Sao Paulo Art Fair

cloud consulate cloud consulate




With the use of a nose goggle created to alter the body and extend the nose,
8 flute players played the perfumen of the flora of the Botanical Garden of Buenos Aires creating a synesthetic experience.

Art Basel Cities 2018
Curated by Cecilia Alemani
Buenos Aires

photo: Sofia Jallinsky





Galactic Playground

Concrete, pain, text, sunlight
SITE Santa Fe Commission
Special thanks to the Santa Fe Railcard Art Projects

Galactic Playground is a large-scale interactive game board based on the cycles of the sun. Like a brightly colored spaceship that has landed in Santa Fe for a six-month vist, Navarro´s work is activated by the cosmos. Like a sundial, the shadow of the needle moves through as a sequence of instructions written on its surface as the sun appears to move across the sky. The instructions, then, vary according to the time of the day and the season. Some trigger a physical action, others conceptual considerations, and all connect the player with the sun as well as with other living entities.

This artwork is part of Casa tomada, Site Santa Fe´s current biennial exhibition now on view at SITE through early January 2019

Curated By: Ruba Katrib, José Luis Blondet, Candice Hopkins

Please click here to read the instructions

love me computer

galactic playground

galactic playground



Into Ourselves

The Drawing Center’s Eduardo Navarro: Into Ourselves presents a new series of edible drawings, inspired by quantum physics––specifically the Holographic Principle, which describes how information in the universe can only be scrambled but never destroyed. During the course of the exhibition, a soup will be made that will dissolve the drawings to make them digestible.

Tom Banks joins Eduardo Navarro to discuss the Holographic Principle and its interpretation of the things we experience with our senses. Drawing upon theoretical principles informed by quantum physics, Navarro created the series of drawings Into Ourselves in response to these ideas. During the course of the conversation, Navarro will do some simple drawings to illustrate the concepts.

Please click here to see the pdf of the talk

Tom Banks is a Professor at Rutgers University in the Department of Physics and Astronomy. Prior to his position at Rutgers, he taught at Tel Aviv University in Israel, and the University of California, Santa Cruz. His research, which concentrates on particle physics and cosmology, drove him to develop with his collaborator W. Fischler of the University of Texas at Austin, the theory of Holographic Space Time (HST).

Drawing Center
The Lab
New York, US
Curated by Brett Littman and Rosario Guiraldes

into ourselves

drawing center



Celestial Numbers

Bread abacus, 4 meters x 4 meters
Installation view Metamorphoses - Let everything happen to you,
Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino
2018Photo Renato Ghiazza

a large abacus made from bread

a large abacus made from bread



Metabolic Drawings

56 Edible drawings.
These were eaten in a soup I prepared my self every day during the fair.

ARCO Madrid 2018
Curated by Chus Martinex, Elise Lammer, Rosa Lleo

Click here to see the drawings

photo from the expo FUTURO in ARCO MADRID 2018

Arco 2018




Five Invsible Haikus

This project was developed at InSite/Casa Gallina in the neighbourhood of Santa Maria de la Riviera in Mexico City. For a period of 2 and a half years I collaborated with Ian Pasaran, a 33 year old blind man who worked, back then, in Pro-ciegos, an Institute for visually impaired people in Mexico City. This public institute provides all sorts of workshops and simultaneously acts as a meeting place. Back then Ian, worked in the store of Pro-ciegos were I met him. Ian, also works (now and then) in a company that hires him to evaluate food. He is a sensorial evaluator. The company he works at, trained him so he could taste and evaluate food products before they reach a mass market. Knowing this, I invited Ian to translate 5 abstract sensations into flavours. These 5 abstractions were: light, distance, space, time and affection. He agreed to collaborate with me (after a 2 years of working together we have become close friends)

We contacted a company called Bell that specialises in creating flavours to help us in the task. Ian meet with Bell´s team numerous times until the 5 flavours were created. This 5 flavours were made into candies. Once the candies were ready, Ian and I decided it could be interesting to created sculptures inspired by these five candies. The idea gave us possibility of playing with clay and making shapes as we tasted the candy and spend time together. We were not sure were this was going, but, since we really liked the result, we decided to make this abstract shapes into bronze. The 5 candies had a shape now. I was really interested in erasing the visual image out of these shapes by creating a horizontal experience equal to all audiences. So I decided to create boxes were only the one hand could reach the bronce shapes and touch them. Fingers are eyes too. The tongue is an eye too.

We showed the boxes with a little bag filled with the candy that inspired the shape. These 5 boxes were showed at Pro-ciegos patio for a week at regular hours. Everyone from the neighbourhood was invited to try them out. We had 3 blind volunteers that guided visitors to these boxes explaining the genesis of the work and why the candy and the shape inside the boxes. Visitors were free to make their own conclusion regarding which of the 5 concepts belonged to each of the boxes. The shapes inside will never be seen or photographed.

click here to see the more images


Into Ourselves

Art Institute FHNW Academy of Art and Design
CH-4002 Basel

Click here to see full exhibition

I love the first lines of Gustav Metzger’s manifesto Auto-Destructive Art (1960):
Man In Regent Street is auto-destructive.
Rockets, nuclear weapons, are auto-destructive.
Auto-destructive art.
The drop drop dropping of HH bombs.
Not interested in ruins, (the picturesque)
Auto-destructive art re-enacts the obsession with destruction, the pummeling to which individuals and masses are subjected.

I really think Gustav Metzger already knew about the holographic principle, a very complex theory that, in a radical simplification, states that the cosmos does not destroy its own information. As far as quantum mechanics is concerned, information about states is never destroyed. According to Leonard Susskind, “all we know about physics would fall apart if information is lost.”  So, no destruction is possible. This can be read in so many non-quantum ways, but we could claim it as very good news, since it is an invitation to stop trying to destroy, and this invitation does not come from a well-intended soul, but from the universe! However, we all know that the ways things go are far more complex in the precarious minds of humans. Therefore, Eduardo Navarro begins his opening with a soup, a soup for all those attending the opening on Friday, the November 10, from 6pm on. In the soup there is art: because he has been making edible art, and some of it will end up in the soup. Since destruction is not an option, transformation, digestion, and joy are at stake in this new project consisting of a large series of edible drawings. This very simple gesture of drawing on material that is compatible with our guts completely challenges any cry for immaterial art. Thinking about the power of the market, and the aggressiveness against complex thinking, art, and artists, the idea of not destroying but metabolizing art seems like an important proposal. It already expresses the end of the sweet years of bourgeois culture. We are now in a post-capital stage that makes it impossible, or very difficult, to know what can challenge the current situation, what can create a possible difference-to-capital. So eating art, making it part of our system, is a way to address the importance of radically transforming ourselves and of being ready to do, to name, to imagine a space for a different connectivity among humans and non-humans and politics all together. Once in our stomach, art may do the part and help us. 

Curated by Chus Martínez
Curatorial assistance Simon Würsten



Letters to earth

Bronce walnuts with walnut meat inside. 60 1:1 replicates of real walnuts.
A group of 60 of these (time) capsules will be laying on the grass of Skulpture Park Cologne for 2 years.
Once the exhibition is over they will be buried deep in the park beginning their journey in time.
These anonymous letters will eventually last up to 2000 years on earth.

KölnSkulptur 9
La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!
October 16, 2017–June 16, 2019
Curator Chus Martinez



In collaboration with the Sun 

continues Navarro’s interest in the conversation between celestial and terrestrial worlds. For this work, Navarro has constructed seven golden suits with mirrored masks and  geometrical mirrors for the hands to operate. They are worn by  dancers who will reflect the sunlight into the surrounding space, using the movements of their bodies as human sundials. Activations will take place towards the end of the day as the sun descends, and on a clear day, typically sets Reykjavik aglow—directly hitting the city on an angle as the earth spins away from its rays. As the exhibition takes place in the autumn-to-winter months, the duration of daylight will change dramatically from the beginning to end of the exhibition—from nearly eleven hours at the start of the show to a mere four hours twenty minutes at the end. While the movements of the performers are choreographed by the sun, the suits will also guide the sun’s movements as they reflect its light into the exhibition space and also confuse the boundaries between inside and outside, daylight and artificial light, our earthly bodies and solar forms.

Click here to see more

Work: In collaboration with the Sun (2017).
Seven mirrored suits and solar synchronization; duration and dimensions variable. 
Venue: Kling & Bang Gallery, Reykjavík, Iceland
Sequences VIII Elastic Hours

Curated by Margot Norton



Hydrohexagrams (for Tahuata), 2017

Bronze coins, drawings (pastel, pencil on paper), single-channel video projection
Coins: ø 65 cm x 3 cm; drawings: dimensions variable; video: 20 min; overall dimensions variable
Commissioned by TBA21–Academy
Thyssen-Bornemisza Art Contemporary Collection
Video still: Courtesy the artist | TBA21

“Eduardo Navarro’s work Hydrohexagrams (for Tahuata) (2017) emerges from a set of serendipitous constellations and encounters during the TBA21–Academy expedition to the Marquesas. Searching for a logic that comes from the oceans and a framework for thinking and being defined by the waters, Navarro created an oceanic version of the traditional Chinese divination method I Ching. The ancient script upon which the divinatory prophecies are read originated during the Western Zhou period (1000–750 BC), and is interpreted by casting a set of three coins six times to create a hexagram pointing to the revelatory text passages in the book. For this project, Navarro produced two sets of three bronze I Ching coins enlarged to a diameter of 65 cm and embossed with oceanic symbols and drawings the artist created during the expedition. The coins were made in Navarro’s hometown of Buenos Aires and brought back with him on his plane trip to the island of Tahuata in the Marquesas. Here, in the town of Hapatoni, where the idea for the work originated, the artist collaborated closely with the inhabitants, proposing they could use the coins and I Ching book to pose a communal question to the ocean. After the village formulated a question, the three coins were thrown into waves six times successively and retrieved by divers, leaving the resulting divination hexagram to be defined by the force of the waves. Realized with the help of local collaborators, like the fishermen who took Navarro out to the waves and helped him find the coins on the ocean floor, the action was also filmed. The village decided to create a song based on their interpretation of the text indicated by the I Ching book, laying it over the oldest chant of Hapatoni, whose melody is inspired by the waves of the sea.

The three coins that were cast into the ocean were brought to Vienna and are shown in the exhibition, while the other I Ching set stayed behind in Hapatoni, as a public artwork that will be displayed in the Artisan Museum and could be used by the different villages of Tahuata. With this project, Navarro realizes a system that emerges from the oceans themselves, placing them at the center of divinatory fate and destiny.” – Stefanie Hessler (curator)

Please click here to the video

Work comissioned by TBA21 for the exhibition Tidalectics
Curated by Stefanie Hessler. 2017
June 2–November 19, 2017

hydro exagrams



Seventh Window

Seventh window is inspired by the Buddhist principle that the body has nine holes from which energy, matter and information travel inside and outside of it. These windows allow us to establish a connection with our surrounding world, transforming the body into a metaphoric temple. This optical gymnastics device allows the exploration of our own body, specifically the anus, the only place our human anatomy does not permit us to  observe. By using it, our own contemplation cycle becomes completes in a uroboro ritual were observer and the unobserved become one. 




Mirror gloves,
touching with out touching: light, time and space.