In this context, Marilina Bertoldi's intervention establishes a close link with the conceptual universe of Margarita Paksa, a key figure in Argentine and Latin American art of the 1960s, whose work addressed cultural transformations in a world undergoing rapid globalization. The performance not only integrates into the exhibition space but also actively engages with the pieces, reactivating their meanings from a contemporary perspective.
During the session, the artist performs her song "De caza" (On the Hunt), from her latest album, "Para quién trabajas vol. I" (For Whom Do You Work, Vol. I), where she displays her characteristic unfiltered personality, charged with intense emotion. This is complemented by an unexpected version of "Amores como el nuestro" (Loves Like Ours), a romantic classic by Los Charros, which she reinterprets through her own sonic universe.
“SALA #04” by Marilina Bertoldi at MALBA - Museum of Latin American Art of Buenos Aires.
The staging reinforces this intersection of languages: expressive makeup and vibrant red costumes create a theatrical, almost performative aesthetic. Her presence, imbued with a strong symbolic charge, transforms the performance into an act that transcends the purely musical, raising questions about current conflicts in Latin America and issues of identity.
In this dialogue, Bertoldi's music does not act as mere accompaniment, but rather as a critical tool that transgresses the literal and conceptual framework, challenging, creating tension, and amplifying the true meaning of the works. As the artist moves through the exhibition space, she establishes new relationships between sound and image, transferring the intensity of her artistic vision to the museum setting, reaffirming, once again, her ability to expand her artistic language without losing its power or identity.
Marilina Bertoldi. Our Saturday music video. (Official Music Video). METALOCUS MUSIC PROJECT.
Credits.-
Filmed at.- Malba Museum in February 2026.
Exhibitions.- Margarita Paksa: Corresponding Ideas, 1964–1984, curated by Nancy Rojas / Third Eye: The Costantini Collection at Malba, curated by María Amalia García.
Co-produced by.- MALBA and Sony Music.
Development Director.- Elena Nofal.
Concept.- Javier Barneche and Juana de Oromi.
Fundraising.- Ana Saint Jean.
Content Review.- María Amalia García and Nancy Rojas.
Communications.- Soledad Álvarez Campos.
Web Editing.- Fernando Bruno.
Press.- Julieta Correa.
Social Media.- Vera Iglesias.
Creative Direction.- Javier Barneche, Juana de Oromí, and Soledad Álvarez Campos.
External Consultant.- Milagros Hillar.
Music Direction and Production.- Marilina Bertoldi. Directed by Malu Boruchowicz.
Produced by.- Matías Pegourie.
Director of Photography.- Sofía Lizzoli.
Choreography.- Abril Boruchowicz.
Editing & VFX.- Kevin Jenkins.
Post-Production Coordination.- Mery Tomás and Cynthia Fuentes.
Color Grading.- Julián De Luca.
Sound Mixing.- OMC.
Audio Recording.- Romahonic Live.
Audio Recording Technician.- Rocío Pradines.
Mixing.- Paco Amenabar.
Mastering.- Daniel Ovie.
Marilina Bertoldi Team
Management.- Boomerang Agency.
Artistic and General Coordination.- Marilina Bertoldi, Fernanda Arrieta, and Julio Castillo.
Production.- Fernanda Arrieta.
Musicians.- Manuel Fernández, Franco Giaquinta, and Mariano Cantarini. Stage Manager: Victor Martínez. Styling: Segundo Etchebehere.
Hair & Makeup.- Corlanation and Rocío Marrodan.
Maiba Collection
Margarita Pasa, Es tarde, from the Secret Writings series, 1976.
Margarita. Paksa, Corresponding Idea, 1967.
Margarita Paksa, Identity in Two Situations, 1967.
Gyula Kosice, Constellations, 1972.
Liliana Maresca, She and I, 1994.
Frans Krajcberg, Untitled, 1961.
Eduardo F. Costantini Collection
Margarita Paksa, It's Late, Fly, 1979.
Ana Maria Maiolino, Between Lives, 1981.
León Ferrari, Written Painting, 1964.
Cecilia Vicuña, Janis Joe, 1971.
Marisol Escobar, Couple 2, 1966.
Jorge Eduardo Eielson, Quipus 33 T1, 1966.
Gonzalo Fonseca, High Place I, 1970-1973. Mondongo, Calavera #5, 2009-2013.
Sergio and Leandro Cairola Paksa Collection
Moving Pipes, 1964.
The King, 1966.
The Queen, 1966.
On My Discourse Series, 1967.
Relaxing Eggs, 1967.
Silence, 1967-2010.
Battle Diagrams Series, 1970-1976.
Number Three, from the Square Writings Series, 1977.
Number Four, from the Square Writings Series, 1978.
Countdown Time, Countdown, Zero Hour, 1978.
Primit Vita, 1980.
Margarita Paksa Archive.- Portrait of Margarita Paksa, ca. 1960s.
Collection of the Museum of Modern Art of Buenos Aires.- Diagonal and Corrientes, 1967.
Photoshoot made possible thanks to the support of Nico Caffaro, Patricia Domecq, Nicole Moises, and Mercedes Pardo.
"Amores como el nuestro" by Los Charros, lyrics.-
Amores como el nuestro quedan ya muy pocos
Del cielo caen estrellas sin oír deseos
Deshojar una rosa es cosa de tontos
Aquí no interesan ya los sentimientos
Como los unicornios
Van desapareciendo
Amar es algo hermoso
Solo es cuestión de un verso
Un amor como el nuestro
No debe morir jamás
Como los unicornios
Van desapareciendo
Amar y ser amado
Es darse por completo
Un amor como el nuestro
No debe morir jamás
Jamás
"De Caza" by Marilina Bertoldi, lyrics.-
Ahora pienso en decírtelo
Sin dudar de mi corazón
Ahora siento que decírtelo
Es más raro que no hacerlo
Sigo abierta a la invitación
Sin dudar es mi obsesión
Ahora siento to' mejor
No tengo opción es decírtelo o decírtelo
Retuve tantas penas
Y tuve tanto que no quise ver
Que quiere verme sola
Quiere verme sola, sola
Le jure sobre la mesa
Y un cielo sólo de estrellas
Ahora siento to' mejor
No tengo opción es decírtelo o decírtelo
Vine y no para desesperar
Vine y no para desesperar
Es lo que quiero Elena
Vine y no para desesperar
Vine y no para desesperar
Es lo que quiero Elena
Dejé mis fotos en tu habitación
Posando en la pared
Espera, vamos, dime qué ves
Espera, vamos, dime qué ves
Pensé en mis cosas y eso te asustó
No seas una pared
Espera, vamos, dime qué ves
Vine y no para desesperar
Vine y no para desesperar
Es lo que quiero Elena
Vine y no para desesperar
Vine y no para desesperar
Es lo que quiero Elena
