Born in Buenos Aires, 1970.
She is graduated in Arts from the University of Buenos Aires and the Prilidiano Pueyrredon National School of Arts. She works since 1997 with digital media. In 2001 she began to work with animations and since 2004, with experimental videos. She attended Pablo Suarez’s workshops (1997) and assisted George Maier Gumi (1997 and 1998).
During 1999 she curated along with Leo Chiachio the showroom of Espacio Giesso. She has been an Art History professor since 2000 and since 2004 she works as art editor of the weekly publication “Llegas” of Buenos Aires.
In 2005 she took part of the Chandon Biennal (Museum Timoteo Navarro, Tucumán) and of the National Salon of Visual Arts (New media).
In 2004 she was awarded with the first prize of the New Medias at the National Salon of Visual Arts exhibiting also at the Chandon Biennal (Museum Caraffa. Cordoba) and at the hall of the Visual Arts of the Klemm Foundation.
In 2003 she exhibited at the Banco Ciudad Awards (National Museum of Fine Arts) and the New Technologies Mamba Awards. In 2002 at the Salon of Visual Arts of the Foundation Banco Ciudad (National Museum of Fine Arts). In 2001 she took part of the Banco Nación Prize (Recoleta Cultural Centre), of the National Biennial of Bahia Blanca, the Museum of Contemporary Art, the "New Media" awards of the Sivori Museum and the National Hall of Rosario, Castagnino Museum. This same year she joined the exhibition "Regarding Aizenberg”( Recoleta Cultural Centre). During 2000 she exhibited at the National Hall of Plastic Arts, Electronic Arts division, Palais de Glace and the Prodaltec Prize for Digital Art,MNBA. In 1999 she participated in the Parsimonia showing at Ruth Benzacar Gallery, also at the National Biennial of Bahia Blanca and the Siggraph Digital Art Competitions. She made her first individual showing at the Espacio Giesso in 1998.
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.
Work: Live number, 2005. It is a three-dimensional digital animation. I worked with an assistant specialized in 3D in Maya, and I edited it in Premier. This video is linked to a series launched in 2004 starring the "turbolinos" (figures on the public area that called our attention on washing cars or parking lots). These automatons are a parody to me. Pop characters (B class) of our urban landscape doomed to their square meter. The clown in this animation stand vertical, falling down immediately after, over and over (based on an articulated wooden dummy). I am interested to work with humor and strangeness.
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 believe that in this series of animations I approached some aspects of pop art (some of the aesthetics of the cartoon, the animated children's film in three dimensions), although the image has other connotations. I liked the work presented by Philippe Parreno at MAMBA (Annlee), I was especially attracted to it. Concerning local production some series of Aizenberg interest me a lot, especially his towers (the economy of resources, the intensity). I am also interested on his metaphysical abstractions and the Tibet series of his master Juan Batlle Planas. I may also consider Liliana Porter (photos and videos) as a contemporary reference to my works. I am also interested in works by Cristina Schiavi and Luis Lindner. Other artists that interest me: Berni, De la Vega, Pablo Suarez, Leon Ferrari, Norberto Gomez, Marcia Schvartz, Jorge Macchi, Omar Schiliro, Elba Bairon, Ignacio Iasparra and many more.
Of other generations and latitudes: the German romantic Friedrich. The Island of the Dead by Boëcklin, De Chirico. I like the series of swimming pools of Hockney. Warhol, Lichtenstein, Oldenburg, Kienholz, Cildo Meireles. More recent: Bill Viola, Cindy Sherman, Duane Hanson, Charles King, Ron Mueck, Mike Kelley, Andreas Gursky.
Exhibitions and works: Berni, at the MNBA, Roberto Aizenberg (Retrospective Recoleta Cultural Center), The Tibet series of Juan Batlle Planas, The Tao of Art (Recoleta Cultural Center), Pablo Suárez at Ruth Benzacar Gallery, Molina Campos (Maman); Between silence and violence (at Telefónica Foundation). The tied jaws of Heredia, the obituaries of Macchi, “the human waste” of Gomez. The Hermetic writings of Leon Ferrari at the Mambo and his retrospective in Recoleta. The first series of Kuitca: scenarios, chairs. The vessels of Juan José Cambre (the ones that palpitate). Jorge de la Vega (Malba). The humor and irony of Federico Peralta Ramos (MAMBA).
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Exhibitions and works: Berni (MNBA) Roberto Aizenberg (retrospective at the Recoleta Cultural Center) The "Series of Tibet" by Juan Batlle Planas The Tao of Art (Recoleta Cultural Center) Pablo Suárez on Benzacar Ruth Molina Campos (Maman) Between Silence and Violence "(in Fundación Telefónica). Manats jaws of Heredia, the obituaries of Macchi, “ The human waste” of Gomez. The Hermetic writings of Leon Ferrari at the Mambo. The retrospective in Recoleta. The first series of Kuitca: scenarios, chairs. The vessels of Juan Jose Cambre (the beats). Jorge de la Vega (Malba). The humor and irony FM Ramos Peralta (MAMBA). The beauty militancy: Omar Schiliro. Fabio Kacero. Paul Siquier. The flowers of Roman Vitali killed. The final exhibition of Gumi Maier (Braga Menendez). The landscape of porcelain Leo Battistelli (caterpillar-lanterns with colored lights). The table Joglar (Malba). Others: Elba Bairon (Diana Lowenstein). ET and ETA Liliana Maresca, or the little clown on its pedestal. "The people stalked by the Pampa" Ignacio Iasparra. Esteban Pastorino. The Sonambula The Darkroom of Roberto Jacoby (Malba). The number of homes “operated” by Adrián Villar Rojas (Benzacar Ruth), "the apocalypse home" and many more.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think there is a group (a sort of “constellation” linked to a tradition of works that began to be exhibited in the late eighties at the ICI and the Rojas Cultural Centre) in which prevails a "formal" concern. Another group would be the "neo conceptualists”. In spite, some of my other works are (fortunately) unclassifiable, in those works the emotion, the mystery, the “removal” and certain narrative aspects stand out.