"OBJECTS AT PLAY" proposes an encounter between football, material culture, and collective imagination.
[OPENING RECEPTION]
Wed. June 3rd | 6 to 8pm
67 West St. Studio 513
Brooklyn, NY
«Just as sporting idols emerge from a society in need of heroes, objects too carry the weight of collective desire. They move between bodies, histories, and hands, absorbing each gesture along the way.»
— Gimena Garmendia, Curatos and Founder SUDESTADA
Bringing together women artists and designers working across textiles, sculpture, photography, installation, and fashion the exhibition approaches football not as a team sport, but as a cultural language shaped through memory, material, ritual, labor, and transformation.
Through stitching, knitting, casting, fusion, film, and material experimentation, familiar objects shift away from their everyday functionality to become surfaces for storytelling, reinvention, and exchange. Here, play operates not as entertainment, but as a mode of making, testing, and reimagining.
Moving between the handmade and the industrial, the collective and the individual, the real and the possible, the exhibition opens a space where objects are no longer fixed symbols, but protagonists in a game that keeps rewriting its own rules.
object THE BALL
artist MALENA GUERRIERI
capsule LA CAPRICHOSA
material 100% UPCYCLED ARGENTINE LEATHER
method HAND-STITCHED
Drawing from archived leather remnants sourced from her family’s factory in Argentina, Malena Guerrieri reimagines the football through a traditional hand-stitching process. Working with unused materials in a wide range of colors and textures, she transforms industrial leftovers into one-of-a-kind pieces that exist between functional object and sculpture.
Through this process, Guerrieri bridges family archive and material experimentation, reactivating a disappearing Argentine making tradition while opening new possibilities for form, composition, and play.
«I’m interested in working with leather not only as football’s original material, but as a surface where color, handwork, and identity converge.»
— Malena Guerrieri
object THE FIELD
artist LUCRECIA LIONTI
piece PONCHO DE CANCHA
material 100% WOOL
methods HAND-KNITTED WITH TWO NEEDLES
Using rustic wool sourced from northern Argentina, Lucrecia Lionti develops a large-scale knitted structure that moves between garment, landscape, and textile environment.
Conceived as an open system without fixed boundaries, the work shifts between poncho, field, and suspended textile surface, translating the iconic shape of the Argentine poncho into the universal language of football.
«Through this piece, the field becomes something that can be worn, inhabited, and experienced as a shared surface — a space that belongs to everyone, regardless of where they come from.»
— Lucrecia Lionti
object THE NET
artist LUISA MANTELLI
piece REDE
material REPURPOSED COTTON THREAD
method HAND CROCHETED
“Rede” is a statement on soccer as a collective ritual and everyday culture. Starting from the goal net and entirely hand-crocheted with repurposed cotton, the piece explores the tension between stillness and ecstasy: the suspended breath before a goal, and the instant when an entire crowd moves as one. It draws from the artist’s domestic and social forms of memory, where football and crochet become shared languages of connection. Playful yet serious, ordinary yet highly symbolic, it shifts from containment to relation, becoming a structure that no longer contains, but connects.
«I've always been fascinated by the moment when a goal happens. Thousands of people holding their breath at once, waiting for the communal release. The net stays still for most of the match, but when it moves, it brings everyone to a collective catharsis. It's the simplest and most effective way of bringing people together.»
— Luisa Mantelli
object THE TEAM
artist AGOSTINA HIDALGO
capsule ARMANDO
materials 100% SILK ORGANZA WITH UPCYCLED MINIATURE PLASTIC FIGURES
method HEAT-FUSION
ARMANDO is a capsule collection that explores the idea of building your own team through garments, customization, and play. Combining silk pieces with miniature football figures traditionally used as cake toppers in Argentine childhood celebrations, the project reinterprets sportswear through fantasy, personal expression, and participation.
The title references both the act of “armar” (to assemble or build) and Argentine football icon Diego Armando Maradona, turning the idea of construction into both narrative and method. Within the exhibition, visitors are invited to customize pieces and assemble their own version of a team.
«ARMANDO imagines football as something we assemble through ritual, play, and belonging. Inspired by the miniature player figures found on Argentine children’s birthday cakes, the project is a tribute to my grandparents, my first team, and to the Sundays and shared memories through which this passion was passed down to me. »
— Agostina Hidalgo
object THE TRACE
artist AGUSTINA MARKEZ
piece COMO NUEVO
material SILICONE
method BRUSH-ON SILICONE MOLD OF OLD CLEATS
Working from original soccer cleats, Agustina Markez creates silicone casts that preserve traces of wear, pressure, and movement. Removed from their original function, the cleats become suspended impressions, shifting from athletic equipment into sculptural forms that hold both physical residue and emotional charge.
«These cleats come from my family archive. Casting them in silicone allows me to shift their presence, transforming something once defined by action into an object of pause and reflection. I’m interested in that moment of tension, when a familiar object becomes strange enough to reveal everything it carries.»
— Agustina Markez
object THE RITUAL
artist MAIA TWOMBLY
piece DAVIDINE
method SIGNAL CHANEL VIDEO
«A homemade football film about performance without consequence. Ten girls in Souvenir David football shorts and Souvenir Italia t-shirts move through a series of amateur training exercises with varying degrees of commitment, skill, confusion, and joy. Somewhere between practice, rehearsal, and parody, the film gently destabilizes the mythology of football culture and its obsession with precision, competition, and spectacle. Nothing really happens, and that’s part of the point. The work is interested in participation detached from achievement: showing up, moving together, trying without necessarily succeeding. Skill becomes secondary to presence, ritual, and play. The girls are not presented as athletes as much as figures inside a shared performance of sport. Homemade in both form and spirit, the film approaches football with lightness, softness, and humor. Celebrating the beauty of collective awkwardness and the freedom of not needing to be good at something in order to belong inside it.”»
— Maia Twombly
object THE IMAGE
artist NATHALIE BASOSKI
pieces OPEN FIELD PT.1 | OPEN FIELD PT.2
material PHOTOGRAPHY PRINTED ON COTTON CANVAS
methods STITCHED AND TOPSTITCHED
Drawing from her photographic practice and personal memories of sport, Nathalie Basoski approaches the football field as both image and longing. Using her own photographs printed on textile, then cut and hand-stitched into large-scale compositions, she reconstructs the field as a fragmented surface shaped by absence, desire, and recollection.
Rather than depicting the field as a site of competition, the work reimagines it as a space of projection, where personal memory and collective imagination converge.
«The green field I never got to play. Growing up, one concrete court had to be everything: handball, basketball, and football. I played on it anyway and spent years dreaming of the open green field.»
— Nathalie Basoski
object THE TROPHY
artist AGUSTINA MARKEZ
piece CAMPEÓN NÚMERO 1
materials GLAZED CERAMIC, EPOXY CLAY, METAL
methods COIL BUILT AND CARVED IN STONEWARE | FOUND METAL SPRING COVERED IN SCULPTED EPOXY CLAY
The trophy shifts away from its role as a fixed symbol of victory. Through ceramic and mechanical forms, Agustina Markez introduces fragility, instability, and humor into the idea of achievement.
Rather than representing success, the work questions what is being celebrated and how value is constructed through objects.
«I’m interested in how value is constructed and how an object can declare achievement even when the experience behind it is far more complicated. By altering the trophy, I’m not just reshaping a form; I’m reshaping the assumptions that cling to it. In this way, the trophy stops being an endpoint representing a certain victory, but it becomes a question.»
— Agustina Markez
Programming includes:
Additional conversations, activations, and collaborations will be announced throughout the run of the exhibition.
Faithful to SUDESTADA’s multidisciplinary approach, Objects at Play extends beyond exhibition-making to create a platform where art, fashion, material experimentation, and public participation intersect in real time.
"OBJECTS AT PLAY" proposes an encounter between football, material culture, and collective imagination.
[OPENING RECEPTION]
Wed. June 3rd | 6 to 8pm
67 West St. Studio 513
Brooklyn, NY
«Just as sporting idols emerge from a society in need of heroes, objects too carry the weight of collective desire. They move between bodies, histories, and hands, absorbing each gesture along the way.»
— Gimena Garmendia, Curatos and Founder SUDESTADA
Bringing together women artists and designers working across textiles, sculpture, photography, installation, and fashion the exhibition approaches football not as a team sport, but as a cultural language shaped through memory, material, ritual, labor, and transformation.
Through stitching, knitting, casting, fusion, film, and material experimentation, familiar objects shift away from their everyday functionality to become surfaces for storytelling, reinvention, and exchange. Here, play operates not as entertainment, but as a mode of making, testing, and reimagining.
Moving between the handmade and the industrial, the collective and the individual, the real and the possible, the exhibition opens a space where objects are no longer fixed symbols, but protagonists in a game that keeps rewriting its own rules.
object THE BALL
artist MALENA GUERRIERI
capsule LA CAPRICHOSA
materials 100% LEATHER
methods HAND-STITCHES USING UPCYCLED ARGENTINE LEATHER
Drawing from archived leather remnants sourced from her family’s factory in Argentina, Malena Guerrieri reimagines the football through a traditional hand-stitching process. Working with unused materials in a wide range of colors and textures, she transforms industrial leftovers into one-of-a-kind pieces that exist between functional object and sculpture.
Through this process, Guerrieri bridges family archive and material experimentation, reactivating a disappearing Argentine making tradition while opening new possibilities for form, composition, and play.
«I’m interested in working with leather not only as football’s original material, but as a surface where color, handwork, and identity converge.»
— Malena Guerrieri
object THE FIELD
artist LUCRECIA LIONTI
piece PONCHO DE CANCHA
materials 100% WOOL
methods HAND-KNITTED WITH TWO NEEDLES
Using rustic wool sourced from northern Argentina, Lucrecia Lionti develops a large-scale knitted structure that moves between garment, landscape, and textile environment.
Conceived as an open system without fixed boundaries, the work shifts between poncho, field, and suspended textile surface, translating the iconic shape of the Argentine poncho into the universal language of football.
«Through this piece, the field becomes something that can be worn, inhabited, and experienced as a shared surface — a space that belongs to everyone, regardless of where they come from.»
— Lucrecia Lionti
object THE NET
artist LUISA MANTELLI
piece REDE
materials REPURPOSED COTTON THREAD
method HAND CROCHETED
“Rede” is a statement on soccer as a collective ritual and everyday culture. Starting from the goal net and entirely hand-crocheted with repurposed cotton, the piece explores the tension between stillness and ecstasy: the suspended breath before a goal, and the instant when an entire crowd moves as one. It draws from the artist’s domestic and social forms of memory, where football and crochet become shared languages of connection. Playful yet serious, ordinary yet highly symbolic, it shifts from containment to relation, becoming a structure that no longer contains, but connects.
«I've always been fascinated by the moment when a goal happens. Thousands of people holding their breath at once, waiting for the communal release. The net stays still for most of the match, but when it moves, it brings everyone to a collective catharsis. It's the simplest and most effective way of bringing people together.»
— Luisa Mantelli
object THE TEAM
artist AGOSTINA HIDALGO
capsule ARMANDO
materials 100% SILK ORGANZA WITH UPCYCLED MINIATURE PLASTIC FIGURES
methods HEAT-FUSION
ARMANDO is a capsule collection that explores the idea of building your own team through garments, customization, and play. Combining silk pieces with miniature football figures traditionally used as cake toppers in Argentine childhood celebrations, the project reinterprets sportswear through fantasy, personal expression, and participation.
The title references both the act of “armar” (to assemble or build) and Argentine football icon Diego Armando Maradona, turning the idea of construction into both narrative and method. Within the exhibition, visitors are invited to customize pieces and assemble their own version of a team.
«ARMANDO imagines football as something we build through ritual, play, and belonging. This project is a tribute to my grandparents, my first team, and to the Sundays and shared memories through which that passion became part of my emotional landscape.»
— Agostina Hidalgo
object THE TRACE
artist AGUSTINA MARKEZ
piece COMO NUEVO
materials SILICONE
methods MOLD OF OLD CLEATS WITH BRUSH ON SILICONE
Working from original soccer cleats, Agustina Markez creates silicone casts that preserve traces of wear, pressure, and movement. Removed from their original function, the cleats become suspended impressions, shifting from athletic equipment into sculptural forms that hold both physical residue and emotional charge.
«These cleats come from my family archive. Casting them in silicone allows me to shift their presence, transforming something once defined by action into an object of pause and reflection. I’m interested in that moment of tension, when a familiar object becomes strange enough to reveal everything it carries.»
— Agustina Markez
object THE RITUAL
artist MAIA TWOMBLY
piece DAVIDINE
methods SIGNAL CHANEL VIDEO
«A homemade football film about performance without consequence. Ten girls in Souvenir David football shorts and Souvenir Italia t-shirts move through a series of amateur training exercises with varying degrees of commitment, skill, confusion, and joy. Somewhere between practice, rehearsal, and parody, the film gently destabilizes the mythology of football culture and its obsession with precision, competition, and spectacle. Nothing really happens, and that’s part of the point. The work is interested in participation detached from achievement: showing up, moving together, trying without necessarily succeeding. Skill becomes secondary to presence, ritual, and play. The girls are not presented as athletes as much as figures inside a shared performance of sport. Homemade in both form and spirit, the film approaches football with lightness, softness, and humor. Celebrating the beauty of collective awkwardness and the freedom of not needing to be good at something in order to belong inside it.”»
— Maia Twombly
object THE IMAGE
artist NATHALIE BASOSKI
pieces OPEN FIELD PT.1 | OPEN FIELD PT.2
materials CANVAS
methods STITCHED AND TOPSTITCHED
Drawing from her photographic practice and personal memories of sport, Nathalie Basoski approaches the football field as both image and longing. Using her own photographs printed on textile, then cut and hand-stitched into large-scale compositions, she reconstructs the field as a fragmented surface shaped by absence, desire, and recollection.
Rather than depicting the field as a site of competition, the work reimagines it as a space of projection, where personal memory and collective imagination converge.
«The green field I never got to play. Growing up, one concrete court had to be everything: handball, basketball, and football. I played on it anyway and spent years dreaming of the open green field.»
— Nathalie Basoski
object THE TROPHY
artist AGUSTINA MARKEZ
piece CAMPEÓN NÚMERO 1
materials GLAZED CERAMICS, EPOXY CLAY, METAL
methods TROPHY: COIL BUILT AND CARVED IN STONEWARE | SPRING: FOUND METAL SPRING COVERED IN SCULPTED EPOXY CLAY
The trophy shifts away from its role as a fixed symbol of victory. Through ceramic and mechanical forms, Agustina Markez introduces fragility, instability, and humor into the idea of achievement.
Rather than representing success, the work questions what is being celebrated and how value is constructed through objects.
«I’m interested in how value is constructed and how an object can declare achievement even when the experience behind it is far more complicated. By altering the trophy, I’m not just reshaping a form; I’m reshaping the assumptions that cling to it. In this way, the trophy stops being an endpoint representing a certain victory, but it becomes a question.»
— Agustina Markez
Programming includes:
Additional conversations, activations, and collaborations will be announced throughout the run of the exhibition.
Faithful to SUDESTADA’s multidisciplinary approach, Objects at Play extends beyond exhibition-making to create a platform where art, fashion, material experimentation, and public participation intersect in real time.
designed by metamensaje
© La Sudestada