Bellefour IV has brought together artists Federico Ezequiel Vazquez and Gustavo Oldemar Cimadoro, who have collaborated in style and content to paint a comic mural directly onto the salon walls. Having first crossed paths during a residency at Once Libre in 2010, Federico Vazquez y Gustavo Cimadoro have finally come together for a project that not only places them side by side, but in amalgamation upon the same walls. Enjoying the distance that always exists between the ideas of two individuals in collaboration, Vazquez and Cimadoro followed a trajectory of 'cualquier cosa', abandoning a cohesive storyline in favour of a celebration of the freedom to paint anything that occurred. The ephemeral nature of the work, which has been painted directly onto the walls in acrylic and marker pen and will remain for a week before it is painted over, adds to the sentiment of chaos and lack of structure that defines this in-situ work.

Planted in the idea of creating a black and white 'comic' painted directly onto the salon walls, Vazquez and Cimadoro have adopted the hybrid medium of the comic format – conveying a visual narrative punctuated by vocabulary of slogans, speech bubbles and onomatopoeia. Although there is no fixed sequence of images, there is a visual continuum of motion that fuses characters with caricature. As with most comics, there is a strong reference to popular culture – with figures emerging such as Felix the Cat, a gun-slinging Mickey Mouse, a three- eyed Donald Duck baring sharp teeth and the body of Popeye the Sailor. Equally present are a number of allegorical nameless figures, whose thick moustaches, large ears and formal dress imply political figures, but without succumbing to direct portraiture. Avoiding a direct or obvious satire, what we are left with are transmutable identities in a critique that becomes subjective to the knowledge, the gaze and the opinion of the viewer.

Playing primarily a repertoire of early tango on the criolla, Emiliano Cusnir explores the tension between two opposed yet inseparable forces of Argentine culture: the country and the city, the tango of Buenos Aires, and the Criolla of the Provincias. The development of tango, as represented from 1900-1930, coincided with the rise of Argentina as a world economic power, before the infamous decade. It was in this era that the close embrace and with it a whitewashed version of tango became socially acceptable, both internally, and as a cultural export. As the industrial agriculture practices of the campo made certain Argentines rich, they began to travel to Europe, and host parties attended by the European aristocracy; it was here that tango first obtained a cultural foothold outside of Argentina, and serves as a powerful symbol of Argentina’s arrival as a world economic power.

Headed by the talented Lucila Pfeiffer, Abacaxi is an emerging catering company specialising in private domestic dinners and art events – from gallery openings to international art fairs (recently providing food for the Okupa project at Arte BA). The daughter of a mother who is a practicing artist and a father who works in film, Pfeiffer’s childhood involved a significant amount of global travel peppered with gastronomical experiences that shaped a knowledge and an interest in eating well. With familial roots that lie in both Argentina and Brazil, Pfeiffer’s cuisine brings together international elements with an exoticism that is distinctly South American. A menu especially crafted for Bellefour IV features orange-infused chicken with a touch of chocolate (an ingredient of undoubtable importance in terms of Meso- american cultures), empanadas filled with the distinctly european medley of brie cheese and caramelised pears, white fish canapés with lime panacotta and passionfruit and bourbon muffins. With a dual importance placed on flavours and presentation, Abacaxi is a company forging a path which heralds the art in cooking for others.

- Ramsey Arnaoot & Kat Sapera, June 2012