Born in Buenos Aires, Argentina, on May 7th., 1978
Studies at the IUNA (former ENBA Prilidiano Pueyrredón), to become a Painting teacher. From 2001 she attends the workshop and clinics given by Diana Aisenberg. From September, 2003 to October, 2005, she took part in the Visual Arts Workshop Programs of the Centro Cultural Rojas (UBA)/Kuitca, 2003-2005. She lives in Buenos Aires, Argentina.
Scholarships/Awards: 2003-2005: Visual Arts Workshop Programs of the Centro Cultural Rojas (UBA)/Kuitca Grant for Visual Artists, 2003-2005.
Individual exhibitions: 2004, Exhibition, Ruth Benzacar art gallery, Buenos Aires, Argentina; 2003, Casona de los Olivera, Buenos Aires; Boquitas Pintadas Pop Hotel, Buenos Aires, 2000. Juana de Arco Art Space, Buenos Aires.
Collective exhibitions: 2006, Contemporary Art Exhibition, Busan Biennale 2006, Cafe1, Busan, Korea. Biennial of the End of the World, Ushuaia International Biennial of Contemporary Art. Pop Heirs, ANIMAL art gallery, Santiago de Chile, Chile. Rembrandt revisited, National Museum of Fine Arts, Buenos Aires. PORTRAITS, the view behind the make-up, Galerie Anita Beckers, Frankfurt, Germany, 2005. On roses, buds and other fables, Fundación Proa, Buenos Aires. Collective Show (Fabiana Barreda, Flavia Da Rin, Esteban Pastorino), Dpm Gallery, Guayaquil, Ecuador. J’en rêve, Foundation Cartier, Paris, France. New acquisitions, MALBA, Buenos Aires, Argentina, 2004. NOTANGO, Villa Elizabeth, Berlin, Germany. Civilization and barbarity, organized by Chancellery Argentina (itinerancy); 2004. Espaço Cultural Renato Russo, Brasilia. “Museo Nacional de Arte Moderno Carlos Mérida, Guatemala. Itinerancy 2005: Canal Museum, Panama. Museo Sofía Imber, Caracas. Museum of Contemporary Art, Santiago de Chile; 2003. Artgentina Project. “Colección Tántica”, Juan Vergez, Miami, USA, Art Basel Miami. Ruth Benzacar art gallery, Miami, USA. Boquitas Pintadas Pop Hotel, Collective show put together by Julio Sánchez. Centro Cultural Nordeste, Resistencia, Chaco, Argentina, May 2003. J. R. Vidal Museum of Fine Arts, Corrientes, Argentina. BAF – Buenos Aires Fashion Week, Lee Jeans, Ruth Benzacar art gallery, Buenos Aires, 2002. Curriculum 0, Ruth Benzacar art gallery: 1st honourable mention, Buenos Aires, Argentina. Estudio Abierto 2002, Buenos Aires. Pleimovil, travelling vernissage, open studio organized by the Buenos Aires City Government, 2000. Collective Exhibition, Hebraica 2000, Buenos Aires, Argentina. Flashy2k, Centro Cultural San Martín, Buenos Aires, 2000.
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
Untitled (self portrait 2004). A two-dimensional work of approximately 50 x 60 cm. A photograph mounted on MDF, aerosol, acrylic, pens, pencils, glittery, etc.
It was months since I had done that picture (a self-portrait in a Baroque type) and it still did not convince me. At the time, I had begun to intervene a series of previous pictures with aerosols and pens, writing and drawing, but without knowing well (as usual) for what reason or towards where the work was leading. With time, that naïve-vandalised intervention started to show some results that I found interesting, because they were different to my previous work. I even liked that intention of “teasing yourself”.
Then I have recently employed this acquired “technique” on the portrait I have mentioned.
The dagger became a hair dryer (an object that is not repeated in many works), the hairstyle shifted to two blonde buns in a Sailor Moon style, the skull that appeared in shades in the original’s background now appeared accompanied by cosmetics, the Baroque dim light incorporated a fluorescent rainbow, clouds and little stars, and on her lap appeared a comic and a reference to Nancy Sinatra's song mentioned in Kill Bill Vol. 1: These boots are made for walking; other inscriptions also appear at the sides of the figure.
I chose this work because I believe it represents a way of working, in which I move sometimes in a circular way revisiting the same point one time and another but from different places and in a certain way that it puts at stake the place from where it is being built up.
2. In general terms, how would you suggest to approach your work?
I am interested in how subjectivity is built up, and in the construction of the subject as an artist (this explains the constant references from the history of art to the emotional life, the music, TV, what I read, what I hear in the street, the words of my tutors, of my friends, the shows I visit, msn, etc.). From the spectator I do not request any type of attitude or special competence for reading the work, I prefer variety in the way it is approached. At the most I can request leeway.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
I recognize myself among those that recognize the traditions that include the history of art in the work and who take it as their own. Appropriation and reference.
I consume lots of things and my preferences keep changing.
In terms of international contemporary referents that I have been looking at during the last months: Janet Cardiff, Tracey Emin, Marcel Dzama, Henry Darger (he is not contemporary but now they are rediscovering him), Raymond Pettibon, Mike Kelley, Wayne White, Wolfgang Tillmans. I am interested in specific aspects of each one, as if I were trying to learn a different subject from each. For example, the assembly of Tillmans and the drawings of Kiki Smith.
Of national artists and of previous generations I am interested in Diana Aisenberg, Guillermo Kuitca, Roberto Jacoby, Marina de Caro, Daniel Joglar, Feliciano Centurion, Fernanda Lagoon. Of my generation: Matías Duville, Oligatega Numeric, Eduardo Navarro, Carlos Huffmann, Nahuel Vecino, Nicolás Domínguez Nacif, Catalina León, among others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
These exhibitions and works were significant to me for various artistic or extra-artistic reasons, without taking away their value because of this:
The Cat Visits (El gato visita), Joan of Arc gallery, 2000, first show of the group Oligatega Numeric (videos, drawings and laser).
Combo, of Diana Aisenberg, Borges Cultural Centre, 2003 (paintings, china and furniture).
Proyecto Venus (Venus Project).
Beauty and Happiness (Belleza y Felicidad).
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
If I had to point out the things that I find easily identifiable from the last 15 years: frenzy on “new technologies”/”experimental-multimedia” during the '90s, explosion of photography, the abandonment of painting and the return to painting. An increase in “collective” groups, groups and “artist led initiatives”, a propagation of workshops to analyse pieces, art encounters, debates, colloquia organized by and for artists, a rebirth of the opposition socio-political art vs. art for art’s sake (embodied in the debate Light Rose Luxemburg Rose (Rosa light rosa Luxemburgo), at the Malba (Buenos Aires Museum of Latin American Art)), a peak of galleries and emergent artists and their later deflation, artists' resistance to be defined by one medium, the appearance of Net Art and net projects, etcetera.
The most significant thing, however, is the coexistence of diverse tendencies, with their moments of more or less boom.
To name sensibilities or shared intentions I feel that the passage of time is needed, and more distance.