I was born in San Juan City in 1980, but the story that matters here begins in Bahía Blanca (Buenos Aires province) when, after a long time studying photography on my own, I decided to begin the workshop of Horacio Culaciatti. This was the first place I attended where the word "art" not only didn’t sound with suspicious or shame (I had studied Civil Engineering), but was even present in every action as a way of seeing the world, in this case, through a camera. Horacio was a good teacher. This coincided with two awards that came together: the Museum of Contemporary Art in the Regional Biennale of Bahía Blanca and other, smaller, at the Alliance Française, also of this city. At the end of the workshop I started interacting intensively with artists that would become my teachers and started participating in every workshop that came to the city. I took part in several group and individual exhibitions in places like the Contemporary Art Museum of Bahia Blanca, Alliance Française of Bahia Blanca, National Arts Fund in Buenos Aires, Juan Victoria Auditorium in San Juan, among several others. In 2006, I and other artists created the management and action group 36veces, with which we managed and participated in various projects and events including especially the Interfaces Program organized by the National Arts Fund.
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.
"Postmodernism: the Truth of the Breaded Veal Cutlet or the Real Truth" [TN: the informal idiom “the Truth of the Breaded Veal Cutlet” [“La verdad de la milanesa”] in Argentina refers to a hypothetical real truth, generally unknown until that moment] is not the work I like most, but I choose it because it is a good summary of many of the issues that are usual in my work (popular themes, the human being as a sociable being, the aesthetics of fashion, etc.). It represents me in that sense. It’s a photograph of a raw piece of cow, vacuum-packed in a prophylactic and disgusting pack of supermarket, that lays on grass. After I made the photograph, I ate this piece of meat in a fried breaded veal cutlet sandwich while watching Santos Biasatti’s TV news program [TN: it refers to a popular journalist in Argentina].
2. In general terms, how would you suggest to approach your work?
Mainly with sense of humor and without prejudice. I believe that among my works there is usually a common theme which is, as I said, the contemporary man as sociable being. As a consequence of this, aesthetics, media and formats are different and changing.
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 find it hard to feel fully represented by a tradition in the present art field, which is characterized precisely by its plurality of languages. Some of the contemporary Argentinian artists that I feel my concerns are related to are: Fabiana Barreda, Raúl Flores, Marcos López, Diego Bianchi, Gastón Pérsico, Sergio Gravier. And foreigners: Albert Watson, Cinthya Soto, Nazif Topçuoglu, among others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
It’s hard because from every exhibition I rescued something that was recorded, but to name a few that directly influenced my work: The exhibition called Heavy Mental by Gastón Pérsico in Bahía Blanca, that fascinated me at that time. Also an installation that was part of a project of urban interventions in different cities, based on the popular saint the Gauchito Gil by Sergio Gravier at the Recoleta Cultural Center.
I liked the picture "Nibbles at the Terrace of Proa Foundation" [Picada en la Terraza de la Fundación Proa] by Marcos López, which I saw in the National Museum of Fine Arts (MNBA, Buenos Aires) and after that I started to be interested in the Lachapelle-type aesthetics, although through the filter of a “3rd World / Post-President Menem” Argentina... Now I am tempted to appoint a lot of more names, but I won’t.