FICCIONARIO III                            

LE FRESNOY - Studio national des arts contemporains

14.02 - 26.04.2015

Opening: Friday 13 February at 18h 

Sebastian Diaz Morales is a character from fiction. Nobody is absolutely homogenous at every hour of the day and night. We are constantly presenting a multitude of facets of our ourselves, we are transformed by the moon’s rays and other people’s gazes, we metamorphose in keeping with the person observing us. (...) I had an appointment with Sebastian Diaz Morales in Amsterdam on Friday 27 December. (...) I heard him talk about his childhood in Patagonia and his cinema studies in Buenos Aires, his scholarship at the Rijksakademie at the turn of the 2000s, his time at Le Fresnoy, and, as we approached his studio, reality gradually seemed to take over again, as if the fictional part that I had discerned in him was in the process of slowly melting and dissolving in the rain that continued to fall.(...)

Jean-Philippe Toussaint

Sebastian Diaz Morales, influenced by avant-garde Latin American cinema, documentaries and art movies, has developed a highly distinctive style characterised by an undeniable poetic touch. His work evinces a passion for documentary investigation, spurred by the spectacular nature of his home region, Patagonia, and abetted by a surprising talent for fantastical, sometimes ironic narration, tinged with scepticism. His intense, lively vision of the world stirs sharp yet elusive echoes in the imagination.

Born in 1975 in Argentina, Sebastian Diaz Morales studied at the Rijksakademie as well as at Le Fresnoy in 2004. His works have been regularly shown in various museums and institutions, such as Tate Modern, London; the Centre Pompidou, Paris; the Stedelijk Museum and the De Appel Art Centre, Amsterdam; Art in General, New York; the Ludwig Museum, Budapest; at the Biennials in São Paulo and Sydney; in the Miró Foundation, Barcelona; the MUDAM, Luxemburg; the CAC, Vilnius.



Ficcionario III, Le Fresnoy, Roubaix

Visuals of the exhibition

Download complete programme with additional events of the exhibition

Download educational programme

Sebastian Diaz Morales. Ficcionario II

31 01 - 16 03 2014

Opening: Friday 31 January at 6pm

Solo exhibition Ficcionario by Argentinian video artist, Sebastian Diaz Morales, invites visitors to immerse themselves in a journey through the architectural labyrinths, made specifically for this exposition, in which powerful projectors beam twisted loops of fiction and reality. The exhibition, taking place in the two grand CAC halls, will present five artist‘s video works: Pasajes I & II (2012, 2013), Oracle (2008), Insight (2012), and Suspension(2014). Diaz Morales‘ video works blend different genres; recurring motifs and forms of narrative that are characteristic of documentary combine with experimental and science fiction cinema.

By employing contemporary means of presentation, this exhibition in its own unique way translates the tradition of magical realism; here real and fictional stories intermingle to create a new dimension of meaning. The dialectical relation between reality and representation, the possibilities and effects of the mediation of the world through film – these are Morales‘ conceptual creative interests, which echo in the wanderings through endless labyrinths of images of Kafkaesque characters.

Sebastian Diaz Morales‘ (b. 1975) works are displayed in the permanent collections of the contemporary art museums such as Centre Pompidou or Tate Modern. His works were exhibited in Stedelijk Museum and De Appel in Amsterdam, in Art in General in New York, and also in biennales of Sydney, Sao Paolo and other places. In 2009 he was awarded a prestigious Guggenheim Fellowship prize. Born in Argentina, the artist now resides in Amsterdam.


Ficcionario II, CAC, Vilnius

Visuals of the exhibition

Additional events of the exhibition:

Saturday 1 February at 3pm: guided tour by Sebastian Diaz Morales in his exhibition Ficcionario

February 5 - March 16: Sebastian Diaz Morales’ film program at the CAC Cinema.

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Vilnius, Lithuania

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Contemporary Art Centre

Vilnius, Lithuania




Galeria Pepe Cobo, Lima, Peru

10.06 - 10.08.2015

Opening: Wednesday 10 June at 18h 

Pepe Cobo gallery in Lima presented a selection of works by Argentine artist Sebastian Diaz Morales

Sebastian Diaz Morales was born in Comodoro Rivadavia, Argentina, in 1975. After completing his art studies at the Rijksakademie van Beeldende Kunsten in Amsterdam, the Argentine video artist has participated in some of the world´s most recognized video festivals. He received in 2009 the prestigious Guggenheim Fellowship. He currently lives in Amsterdam.

In his films and videos, the artist explores the possibilities of film language from a perspective that both documents and reinterprets reality through playfulness and irony. Highlights in his work creating an atmosphere that recreates an usual sense of unease.

His work has been described as cinematic narrative with stories that approach science fiction, sometimes with catastrophic notes with a minimalist style where the characters work almost as a metaphor for a story that goes beyond the anecdote to reveal problems of great scope in contemporary society.

Morales Diaz´s work has been exhibited in some of the most important museums in the world, including the Tate Modern (London), Centre Pompidou (Paris), the Miró Foundation (Barcelona), the Stedelijk Museum Bureau (Amsterdam) and the gallery Art in General (New York). His work also forms part of the permanent exhibition at the Tate Modern, the Centre Pompidou, the Jumex Foundation (Mexico), the Sandretto Foundation (Torino), the Sammlung-Goetz (Munich) among others.

The exhibition can be visited from Monday to Saturday from 11 am to 8 pm. Admission is free and open to the public until August 10, 2015.


Pasajes, Galeria Pepe Cobo, Lima, Peru

Visuals of the exhibition

The Lost Object

Gallery carlier | gebauer, Berlin

10 September – 29 October 2016

Opening: Friday, September 9th 2016, 6-9 pm

carlier | gebauer is pleased to announce the solo exhibition of a recent video installation by the Argentinian artist Sebastián Díaz Morales. This will be his sixth solo exhibition with the gallery. Díaz Morales’ film and video installations confound the boundaries between reality and fiction. His work consistently attempts to displace this division through examining the linguistic and visual possibilities of narration.

The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality—and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morales’ work, the artist approaches film as a “factory of simulacra,” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014).  

A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard’s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.

Sebastián Díaz Morales (b.1975, Comodoro Rivadavia, Argentina) lives and works in Amsterdam. His work is currently on view in Sonsbeek ’16 and his solo exhibition Ficcionario IV opens at Museum für Gegenwartskunst Siegen in mid-October. Previous iterations of Ficcionario have been exhibited at Le Fresnoy (2015) and CAC Vilnius (2014). Díaz Morales has additionally exhibited in prestigious international venues such as Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwig Museum, Budapest; Bienale São Paulo; Biennale of Sydney; Fundació Joan Miró, Barcelona; MUDAM, Luxembourg and the Calouste Gulbenkian Foundation, Lisbon—and is the permanent collections of the Centre Pompidou; Tate Modern; Fundación Jumex, Mexico City; Foundazione Sandretto Re Rebaudengo, Turin; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museu Berardo, Lisbon. In 2009 he was awarded with a Guggenheim Fellowship.

The Lost Object, carlier | gebauer, Berlin

Visuals of the exhibition


Museum für Gegenwartskunst Siegen

14 October – 05 June 2017

Opening: Thursday, October 13th 2016, 6-9 pm

"The mind is dreaming. The world was its dream.“ Jorge Luis Borges

Sebastián Díaz Morales was born in 1975 in the Argentine city of Comodoro Rivadavia. His pictorial language bears the mark of this “Capital of the Wind”, as it is called, situated in an isolated spot between the Atlantic Ocean and the Patagonian Desert. As Morales himself says, the experience of growing up in an extreme environment in the middle of nowhere led to a special way of perceiving reality.

His films and videos, which he has been producing since 1998, show that reality is nothing more than a figment of the imagination. Every figure and every narrative in them is a metaphor for the boundary between reality and fiction. His films revolve around the suspension of time and the displacement of space and time through the constant dreaming and reconstruction of reality.

Morales works with various filmic techniques, for example montage, cartoon-like dissociations or slow motion. Sound also plays a leading part, whether in the form of noise or film music. Some of the works are reminiscent of science fiction. Their narrative style and dialogues are of a minimalist character, yet their imagery evokes associations by which the viewer discovers a new take on reality.

The two major videos Insight (2012) and the newly produced Lost Object (2016) join the monumental HD video installation Suspension (2013) to form the core of a show featuring altogether seven video installations along with objects and drawings. An impressive overall staging awaits the visitor – a fictional world that holds him captive as in a dream.

Ficcionario, Museum für Gegenwartskunst Siegen

Visuals of the exhibition

Biennale di Venezia, VIVA ARTE VIVA

Pavilion of Joys and Fear

13 May – 26 November 2017

Curated by Christine Macel

In the Pavilion of Joys and Fears (Central Pavilion), Suspension explores the boundaries between reality and fiction. Poetical and oniric, Díaz Morales’ works are often tinged with irony and scepticism regarding human existence

and our relationship with nature. The film begins with a chimerical view of a thick cloud of white vapor that

dissipates to reveal a man suspended in space. He seems to be falling in slow motion, his eyes closed, transcending

time. Inspired by the Absoluten Calfeutrail comics by Moebius (1977), the work is a sort of allegory of modern man, remaining imperturbably passive as he falls.

In the Pavilion of Time and Infinity (Gardino delle Vergini), Pasajes IV is the last film in a series of four short films that follows an individual as he wanders through different cities. In this last part, filmed in Patagonia, the protagonist’s passage seems to connect the different places he visits: an abandoned construction site, a closed

observatory, and green plains. Inspired by the South American heritage, from Jorge Luis Borges to Gabriel García Márquez, who looked at cities as the cradle of political and social ferment, Díaz Morales portrays places deeply  scarred by economic hardship, contrasting with the sense of freedom incarnated by his protagonist and the immensity of the landscapes.


Galerie Stadtpark, Krems

April – May 2018

Curated by David Comary

Argentinean artist and filmmaker Sebastián Diaz Morales confronts the viewer in his short films Pasajes I and II with a continuum of ruptures, an incommensurable succession of images of various, mostly disparate spaces and places. Subjected to a subtle form of urban semiotic overload, the viewer and his perception and experience of space, place, and landscape become the observational subject of the films. Diaz Morales’s visual language is characterized by clarity, by a documentary straightforwardness, but also by subtle irony and skepticism. On the surface, his films seem realistic, but as they unfold a symbolic, metaphorical dimension gradually takes over. Diaz Morales leads the viewer into a phantasmal, quasi-magical visual realm, one focused not on escapism but on a subtle yet relentless questioning of our conceptions of reality.

Passages, Galerie Stadtpark, Krems

Visuals of the exhibition