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The Paradigm Confines Tour

by Alicia Herrero

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press release

The location - The tour

Courtesy of Museo Del fin del mundo and Museo del Presidio - Ushuaia
+ photos Beagle Channel

The city of Ushuaia is known as the end of the world city. It is the southernmost city in the planet, located across the Chilean territory, separated by the Beagle Channel.

Beagle Channel, Atlantic and Pacific Oceans merger / border zone between Argentina and Chile /Chile / 300 miles from Falkland Islands (United Kingdom- Europe).

The name of the channel (Beagle Channel) refers to the Brigantine HMS Beagle in which the English sailor Robert Fitz Roy arrived in 1831, along with the scientist Charles Darwin and a native american Yámana who was returned to his land by the British Crown in order to “christianize” the region.

View: islands, Andean mountains, birds, sea wolves
Average temperature in March-April is 10º .

Courtesy of Museo Del fin del mundo and Museo del Presidio - Ushuaia
+ photos

More information about the location and the trip.

Navigation time: 3 hours during the afternoon.
Name of the ship: Barracuda
Barracuda is the oldest ship that can make that trip through the Beagle Channel.
Capacity 60 people


Video version The Paradigm Confines Tour
NBP project by Ricardo Basbaum
Documenta 12 Kassel
between 16/6 to 23/09

NBP Documenta 12 Kassel




THE PARADIGM CONFINES TOUR is a live edition while sailing during 3 hours the same circuit Charles Darwin sailed in 1831 on the brigantine HMS Beagle expedition in which he accomplished his famous Evolution Theory.

: 3 hours
Boat: Barracuda
Departure: saturday 31 March, 2 pm Puerto de Ushuaia - Patagonia - Argentina

Canal de Beagle
Argentinean/Chilean Border, meeting of the Atlantic and Pacific Oceans, 600 miles from Europe (Falkland Islands - United Kingdom).
Ushuaia – Patagonia – Argentina –

Latitud/Longitud 54°48'S 68°18'W
Bienal del Fin del Mundo (The End of the World)

6 curated edition by Alicia Herrero

MIS formulates a set of variables regarding spaces and times. The Paradigm Confines Tour proposes, on one hand, a physical location that offers an exceptional moment for community (the 3 hour navigation tour) for a limited group of attendants, and on the other hand, an on-line location (differed and continuous time) where the documentation of the in situ version will be published (chats, sound track, videos of the trip, texts, links, projects).

This edition diverts the artistic biennial device towards a daily city activity - a tour through the physical beauties of the local scenery - and vice versa. MIS presents a mise-en-scène on tour made of: projects that go beyond physical location and chronological time, a research lab on travel with guests from different cities and its own soundtrack on the drift . This introduces us - by going through devices and genres - in an interstitial zone of the mega historical narratives and episteme. The Paradigm Confines Tour challenges us to put an end to these narratives and episteme, to displace them from our perception threshold, to blend them and to decisively turn them into a drink: Paradigma Sour. This powerful drink will operate on these canons, and was tasted on tour in order to welcome artists, critics, and guest curators more to all those who wish to join us.

The Paradigm Confines Tour, according to these references, proposes a getaway from the standard representational methodologies in a 3 hour navigation tour that re-locates the more or less common expected devices of an international biennial: trans-national reflective conversation, interdisciplinary show, media range, and along with them it presents this mise-en-scène sailing. The projects, texts and conversations propose cartography in its intertextual dimension, re-writer and re-situate means, structures and happenings.

It is an exploration through an exciting and complex topography that allows perceiving the different superposed and juxtaposed layers of which a landscape (cultural and physical) is constructed. This abundance of concepts, in synchrony with the exotic, exuberant nature of the site, dissolves positivistic neutralisms and offers of the own constitutive act. The boat is a moving setting: the invoked signs oscillate in a swinging movement between the powerful physical landscape and the dislocated projects and critical values in the laboratory, between being performers and audience. The roles, the landscape, the sound track, the presented projects, the lab, all those work as text and context of a mise-en-scene.more...

Banda Sonora (Soundtrack)-(Musical repertoire on the drift ) - Raquel Garbelotti, Wagner Morales y Carla Zaccagnini (São Paulo)

Links process

New Projects on NBP by Ricardo Basbaum
(Río de Janeiro) - (in collaboration with
Documenta 12, 20 new objects are in cinculation in 20 cities. One of them sails these seas.
Transnational Republic (Munich - Berlin) - (the audience can get their transnationality on travel)
Revista Números


Cultural Confinement by Robert Smithson (New York)
New York)
Geografismos, Desconquistas y Redescubrimientos by Joaquín Barriendos (Barcelona)
Ensueño y vulnerabilidad (meeting Magazine Project Documenta 12) by Jaime Iregui (Bogotá)
The Rogue Zone: An Artistic Project in the Tri-Border Region between Argentina, Brazil and Paraguay by Francisco Ali-Brouchoud (Posadas)
El espacio de desarrollo e investigación como el espacio real del proyecto, interview to Francis Alÿs (México - Antwerp)
The Geopolitics of Pimping by Suely Rolnik (São Pablo)

Impertinent Cartographies
live conversations

Miren Jaio (Bilbao)
Fantasenado con los confines del mundo sin salir de casa

Jaime Iregui(Bogotá)
Videoguia de la Bienal (video 4´)

Carla Zaccagnini (
São Pablo)
Los Confines del Paradigma o el Paradigma de los Confines

Bill Burns (Toronto)
Bird Songs, Safety Gear, and International Art Biennales

Francisco Ali- Brouchoud (Posadas)
Gran Hotel Abismo

The work dynamics will consist of a set of questions:
How do we relate with these narratives in the perspective of these new cultural long-range events?, Is the biennial event (the first biennial was done in 1895) accordingly placed in the present times?, A new Biennial: what for and why? What kind of deconstructive and postcolonial readings can be made?
Which is the role and purpose of these cultural and artistic productions in these type of events?, What kind of contribution can
projects as MIS put forward?, Can they be effective as an institutional critical practice operating with the same art mechanisms?. The navigation through the geographic-semantic sides of the biennial is to navigate through the edges of its staging, touching its borders and structures (political-territorial-economical-touristy-patrimonial). However it cannot be denied that this same distance allows to introduce art among other discourses and to examine contradictions. And to ask ourselves: what would allow a critical dialogue between the practices both artistic and theoretical that approach critical practice today? , Is the way of approaching the institutional criticism from the perspective of artistic and/or theoretical practice sufficient? , And what kind of effectiveness does it provide?, Which criteria, which paradigm analysis should be the support when these critical practices turn into “study object”? , Is art the most advanced research field that exists nowadays? (as Ricardo Basbaum says).


+ Photographs of Barracuda boat

edition by: Alicia Herrero
Audiovisual: Catalina Fernández
Comunication: Betina Bracciale
Thanks to: Gabriela De Giuseppe (design)
MIS edition #6 was recorded on travel in mdv.

With the auspices of: