200CENT

Segismundo @segissegissegis (Guatemala) 200CENT @___.200cent (Barcelona) Vórtex | SWAB 2025 Featuring work from @4get4get4getting , @anvdelgado @ineverdugo Segismundo opened its doors in December 2022 in Guatemala City with the group exhibition “Against All Odds,” a title that captures the spirit of the gallery. Named after the main character in Life is a Dream, the gallery seeks—through its artists and exhibitions—to establish a common ground of ideas and sensibilities from which narratives for the world to come can emerge. Since opening in 2023, 200CENT has expanded past a space that showcases artists’ projects and has stepped into the role of a “third place” which encourages communal building, learning, and exchange via artistic practices and conversations in the center of Barcelona. Open to all media and perspectives, 200CENT embraces diversity and encourages dialogue across disciplines. It offers a dynamic platform for artists to explore, question, and share their work in an evolving, inclusive environment. Bodies, detachment, connection, and emotion intersect in a shared terrain where materials become vehicles of expression. Robin Vuitch moves between textiles, installations, and painting to reflect on the absent body and exposed intimate moments. Ana Delgado Palomino worked with gestures and surfaces, transforming material into acts of union and resonance that pointed toward connections beyond language. Inés Verdugo created playful encounters in which everyday objects, loaded with memory, are reconfigured into symbolic forms, intertwining personal narratives with collective meanings. The intersection of these three practices proposed spaces where bodies are both present and absent, fragile and dominant, opening a dialogue that unfolds between materiality, affect, and relation. #Swab2025 #Vortex

200cent (@___.200cent ),Diumengem (@diumengem ) y Organikka (@organikka.world ) se reúnen en Palau Dalmases para convocar a artistas, personas creadoras y/o investigadoras que deseen mostrar su proyecto artístico en una exposición colectiva en el marco de un evento abierto al público y organizado por la productora cultural Organikka. ¿Cómo reinterpretamos los mitos y sus aprendizajes hoy en día? ¿Cómo sería un mito contemporáneo y cómo lo narraríamos entre nosotras? ¿Cómo ocupamos los espacios expositivos con cargas históricas pesadas? ¿Se puede añadir una capa más de historia en tan solo unos días de muestra expositiva?¿Dónde se sitúan nuestros cuerpos frente a estas obras? ¿Qué significa transformar la historia/ el pasado en lugar de preservarla o rechazarla? ¿Qué formas de cuidado, relectura o desplazamiento pueden activarse desde la práctica artística? Convocatoria abierta hasta el 10 de mayo a las 00:00h (CET España) Notificación selección participantes: 13-17 de mayo. Montaje de la exposición: 12 y 13 de junio (a coordinar con la organización del evento). Día de exposición: 13 de junio. Desmontaje: a coordinar con la organización del evento. ***Las obras y piezas ya deben estar producidas.*** Formulario y condiciones de la participación en el link de la bio. Curators: @ottocelia @annafloto_ @____carlaenmarch @millslemons @liliardilla

200cent archive | White Fang Sayang Anusha Jean Ramesh @anushajeanramesh 16.11.2025 Part of @loopbarcelona_festival 2025 eng White Fang Sayang is a video installation that negotiates closeness, exploring how queer Southeast Asian diasporic subjects navigate kinship, belonging, and memory through rituals of archiving and witnessing. The work unfolds as an abstract meditation on becoming. esp White Fang Sayang es una instalación de video que negocia la cercanía, explorando cómo los sujetos queer del sudeste asiático en diáspora navegan el parentesco, la pertenencia y la memoria a través de rituales de archivo y de testimonio. La obra se despliega como una meditación abstracta sobre el devenir. cat White Fang Sayang és una instal·lació de vídeo que negocia la proximitat, explorant com els subjectes queer del sud-est asiàtic en diàspora naveguen el parentiu, la pertinença i la memòria a través de rituals d’arxiu i de testimoniatge. L’obra es desplega com una meditació abstracta sobre l’esdevenir. graphics by @__.len <3

Hello 200CENT family, we hope you are having a good entry into spring, creating and using art as a tool to connect, share, and collaborate. We honestly miss you all so much! We are sharing this message now to address our current situation as a team and as a space. Unfortunately, the lovely 200CENT physical location has fundamental issues that require us to leave the space. This, combined with personal transitions in our lives, has brought the project to a transformational moment. We will be temporarily closing our doors and reopening in a new location(s) that is yet to be determined. We are filled with many emotions and are sad to see the physical space disintegrate without hosting some of the exhibitions we had planned, and without a proper 200CENT goodbye. We feel nostalgic for the amazing exhibitions, events, and performances the space has seen, for opening the space, talking to the neighbors, and seeing new faces and old friends all together. We are so grateful for every person who has contributed. It truly would not be the same without you. At the same time, we are excited about how this moment opens new doorways for the project and challenges us to restructure and re-create our vision. Ultimately, change is inevitable and an instigator for new chapters, projects, and ideas. So truly, thank you thank you thank you. We hope you stick around as we build from a new place. We love you! <3

200CENT highlights from 2025 Thank you to everyone who made this year possible ♥️ Visca l’amor i la comunitat 📷 @andrepit.ph @una____flor @jeanmichelconyedo

Drink my sour milk from your stripper heel- Alida Maria Lanzi @alidalanzi and Anusha Jean Ramesh @anushajeanramesh (200CENT) @___.200cent Performance | Vórtex SWAB9 This performance traces the act of moving together within systems that dictate desirability. Performed by Alida Maria Lanzi and Anusha Jean Ramesh, it stages a negotiation between resistance and emotional obedience, embodied in the figures of the stripper and the exotic dancer. Structured as an improvised choreo-sonic score, the piece begins with each performer wearing a single transparent stripper heel, moving alongside leather sculptures that slowly leak milk. These elements act as totems of gendered and racial hierarchies around desirability, asking: Who has the right to be seen? Who is condemned to obey? How do colonial systems inscribe themselves onto our bodies, even within friendships and so-called “safe” spaces? The performers crawl and stumble under the asymmetry of the single heel, turning sensuality into resistance. The dripping leather vessels evoke both vulnerability and rupture, challenging notions of purity and care while exposing their potential for exploitation. The sound of breath, friction, and movement is recorded and distorted live, creating an unstable sonic landscape, while shifting light manipulates visibility and the gaze. The piece opens a space for tenderness and fracture, for vulnerability and resistance. It does not seek resolution, but insists on making visible how intimacy, complicity, and even resilience remain entangled with Eurocentric frameworks of desire and power. With the support of @club9_performance_art @artefacte_performance_art @cervezaelaguila #SWAB2025 #SWAB9 #CLUB9 #SWABperformance

Drink my sour milk from your stripper heel- Alida Maria Lanzi @alidalanzi and Anusha Jean Ramesh @anushajeanramesh (200CENT) @___.200cent Performance | Vórtex SWAB9 This performance traces the act of moving together within systems that dictate desirability. Performed by Alida Maria Lanzi and Anusha Jean Ramesh, it stages a negotiation between resistance and emotional obedience, embodied in the figures of the stripper and the exotic dancer. Structured as an improvised choreo-sonic score, the piece begins with each performer wearing a single transparent stripper heel, moving alongside leather sculptures that slowly leak milk. These elements act as totems of gendered and racial hierarchies around desirability, asking: Who has the right to be seen? Who is condemned to obey? How do colonial systems inscribe themselves onto our bodies, even within friendships and so-called “safe” spaces? The performers crawl and stumble under the asymmetry of the single heel, turning sensuality into resistance. The dripping leather vessels evoke both vulnerability and rupture, challenging notions of purity and care while exposing their potential for exploitation. The sound of breath, friction, and movement is recorded and distorted live, creating an unstable sonic landscape, while shifting light manipulates visibility and the gaze. The piece opens a space for tenderness and fracture, for vulnerability and resistance. It does not seek resolution, but insists on making visible how intimacy, complicity, and even resilience remain entangled with Eurocentric frameworks of desire and power. With the support of @club9_performance_art @artefacte_performance_art @cervezaelaguila #SWAB2025 #SWAB9 #CLUB9 #SWABperformance

DRINK MY SOUR MILK FROM YOUR STRIPPER HEEL performed at @swabartfair thank you @club9_performance_art @artefacte_performance_art and @___.200cent for having us. we have a million thank yous and kisses to give. we #livelaughloveU4ever with love, ali and nushi photos by @jeanmichelconyedo

@swabartfair 2025 ♥️ ENG We are so grateful to have been able to be part of Swab Art Fair 2025, a space of encounters and a warm environment to showcase work. This year we were part of the vortex programme, a programme which intends to build bridges between emerging voices in Latin America and Barcelona, curated by @lenasolanogue @santigasquet . 200CENT shared a space with @segissegissegis from Guatemala and we managed to find a great dialogue between the works of @anvdelgado @4get4get4getting and @ineverdugo . Thank you @swabartfair for this opportunity to share and collaborate🔗 CAT Estem molt agraïts d’haver pogut formar part de la fira d’art Swab 2025, un espai de trobades i un ambient càlid per mostrar la feina. Enguany hem participat al programa Vortex, un programa que té la intenció de construir ponts entre veus emergents de l’Amèrica Llatina i Barcelona, comissariat per @lenasolanogue i @santigasquet . 200CENT va compartir espai amb @segissegissegis de Guatemala, i vam aconseguir establir un gran diàleg entre les obres de @anvdelgado , @4get4get4getting i @ineverdugo . Gràcies @swabartfair per aquesta oportunitat de compartir i col·laborar🕯️ ESP Estamos muy agradecidos de haber podido formar parte de la feria de arte Swab 2025, un espacio de encuentros y un ambiente cálido para mostrar el trabajo. Este año participamos en el programa Vortex, un programa que busca tender puentes entre voces emergentes de América Latina y Barcelona, comisariado por @lenasolanogue y @santigasquet . 200cent compartió espacio con @segissegissegis de Guatemala, y conseguimos establecer un gran diálogo entre las obras de @anvdelgado , @4get4get4getting y @ineverdugo . Gracias @swabartfair por esta oportunidad de compartir y colaborar🏹

𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴 @mateoprado 25.10-26.11 Eme (sustantivo femenino) 1. f. Objeto, mecanismo o utensilio que cumple la acción de moler, machacar o majar, para iniciar la digestión fuera del cuerpo. 2. f. Estructura compuesta por una base, un cuerpo y, opcionalmente, una maza. 3. f. Todo es una eme mientras parezca una eme, funcione como una eme y se llame eme. 𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴𝑴 es el resultado de una serie de limitaciones autoimpuestas por Mateo Prado, utilizando el proceso como herramienta. Todo parte del mortero, una herramienta compartida entre culturas para triturar, mezclar y transformar materiales. Desde el amarixo catalán hasta el molcajete mexicano, esta forma familiar varía en su estructura pero se unifica en su propósito, inspirando una exploración más amplia del proceso, el material y la forma. Impulsado por la obsesión, la experimentación y la variación, Prado desarrolla objetos que llama “Emes” dentro de una estructura de tres partes: Superficie, Maza y Base. Cada “Eme”posee el mismo potencial funcional que un mortero tradicional, a la vez que explora la interacción entre funcionalidad y abstracción, limitación y creatividad. Similar al proyecto 100 Chairs in 100 Days de Martino Gamper, el trabajo se desplegó a través de una práctica constante de experimentación diaria y acumulación. Una vez creados los objetos, Prado ideó un código, un sistema de nueve “normas” que clasifica cada pieza según material, forma y textura. El código organiza la obra al mismo tiempo que permite la posibilidad de producir nuevas variaciones y formas. Las “Emes” son a la vez objetos, herramientas y registros del proceso: un lenguaje material que revela una exploración continua y abierta de forma, función y diseño. comisariada por @annafloto_ Gracias @helenabuxa @01.ricardo.prado @taller_de_oquis @fe.capote @atosarde @manuerauskin <3

𝘤𝘢𝘵 Enguany, a la nostra participació a @swabartfair , hem atorgat el Premi Fundació Úniques a l’artista Robin Vuitch @4get4get4getting , representada per la galeria 200CENT @___.200cent dins el programa VORTEX. Amb l’obra “Thin Skin (Pell fina)” (2024), feta amb corda, cola, mitges, gelatina, agulles i ferratges, reafirmem el nostre compromís d’ampliar la col·lecció apostant per artistes dones vinculades als Països Catalans. El treball de Vuitch abraça disciplines com el tèxtil, l’escultura, la pintura, la performance i la poesia. La seva pràctica explora els límits entre la vida pública i privada, abordant temes que sovint provoquen incomoditat o ressonen amb experiències íntimes. Les seves obres s’endinsen en les complexitats del cos i la seva absència, qüestionant com definim i experimentem la presència i l’absència en el dia a dia. __ 𝘦𝘯𝘨 This year, at our participation in @swabartfair , we awarded the Premi Fundació Úniques to artist Robin Vuitch @4get4get4getting , represented by the gallery 200CENT @___.200cent within the VORTEX program. With the work “Thin Skin (Pell buida)” (2024), made of rope, glue, stockings, gelatin, needles, and hardware, we reaffirm our commitment to expanding our collection by supporting women artists connected to els Països Catalans. Vuitch’s practice spans disciplines such as textiles, sculpture, painting, performance, and poetry. Her work explores the boundaries between public and private life, addressing themes that often evoke discomfort or resonate with intimate experiences. Her pieces delve into the complexities of the body and its absence, questioning how we define and experience presence and absence in everyday life.

“drink my sour milk from your stripper heel” es una performance coreo-sonora que explora la resistencia y la desobediencia emocional a través de los cuerpos de @alidalanzi y @anushajeanramesh , quienes cuestionan las jerarquías de deseabilidad generizadas y racializadas. Esta pieza visibiliza las tensiones entre vulnerabilidad y resistencia, manteniendo abiertas las preguntas sobre cómo los sistemas coloniales atraviesan nuestros cuerpos, el trabajo y la intimidad, y cómo la visibilidad dentro de esos marcos puede ser desafiada. Domingo 5 d’Octubre a las 18:30h 📍 @swabartfair representado de @___.200cent @artefacte_performance_art @club9_performance_art ⋆˚꩜｡ love, ali n nushi (come come come) xxx ⋆˚꩜｡