I studied Visual Arts in the National University of the Arts (I.U.N.A), where I graduated in
2003. At the same time, I studied contemporary dance independently. Since 2013
Iparticipate in Portfolio Reviews with Máximo Jacoby and Laurie Perez Campana, and
since 2008 I been furthering my education in Contemporary Dance with Eugenia Estévez.
Ihave also participated in Portfolio Reviews with Fabiana Barreda (2010), I attended the
Seminar: “Four Lines of Analysis of the Work of Art” given by Valeria González (2009),
Iattended the university subject General Theory of Dance with Susana Tambutti (2008),
and I participated in the Choreographic Composition Workshop directed by Diana
A question about the image, a need to build it with the body. I am interested in researching
and working on the body, both mine and of others. My work challenges issues of the visual
field while working with questions about the use of the body, which are more closely related
to the area of contemporary dance. I embark in works that entail a dialogue between these
interests. I recognize myself within a performative line of art related to a revisionist concept.
The results of this research are, mostly, silent, delicate, small actions. My actions, whether
they are in the format of video-dance, performance or stamp of an action in situ, still
maintain a poetic intention pursuing a formalistic vision. Nowadays, I find myself forcing
less the result of my works and reducing the stage of preliminary design, both from the
visual and the choreographic points of view. I increasingly work on guidelines and
intensions that help generate shape and movement. Based on improvisation, I then edit.
Grants and Awards
2012. Premio Itaú Cultural a las Artes Visuales. Selected as finalist.
2009. Festival Internacional IDN, Imagen, Danza y Nuevos Medios. Barcelona, Spain.
Selected as one of the seven outstanding works of the exhibition. The Media Center of
the Caixaforum of Barcelona buys the work En vuelta to make it part of its video-dance
Grant of Fondo Nacional de las Artes for Audiovisual Media group projects to carry out
and direct Borde para tres.
Winner of the Video-Dance category in the third edition of the International Video Art
Selected by the photography competition 5 to Concurso Expotrastiendas de Fotografía.
Solo and Group Exhibitions (selection):
2013. Solo: Instrucciones para besar la pared. Gallery: Oficina Proyectista. Curator:
Máximo Jacoby, Laurie Perez Campana. Text: Leonel Luna. Sponsor: Avon.
2011. Photo Exhibition: El cuerpo y la imagen. Alianza Francesa, Centro Cultural
Recoleta. International Videodance Festival.
Group Exhibition: Se viene el fin del mundo. Gallery: Oficina Proyectista.
Ciclo Converzasioni Sobrevuela Performance. Gallery: Arcimboldo.
2010. Interconexiones 2010, Ciudades en Movimiento.
Muestra Internacional Simultánea de Videodanza, Instituto Cervantes.
International Video Art and Animation Exhibition. Stockholm, Sweden.
2009. Festival PLAY09, Oaxaca, Mexico.
Dance Camera West Festival of Los Angeles, California, USA.
20 centavos, Gallery, Proyecto Bisagra.
Primer Encuentro Video Proyectista, Oficina Proyectista.
Festival Frame de Oporto, Portugal. Argentine Videodance Team.
Bienal de Dança do Ceará. International Video Art Festival.
2008. Expotrastiendas, Espacio de Video Mildred Burton.
Proyecto Di@metro. Exchange between T.E.G. (México) and Expotrastiendas
(Argentina). Centro Cultural Recoleta.
International Video Art Festival. Galería Meridion. In Situ Contemporary Art
PLAY - work in progress. (2014 2015)
A photographic image always about to defeat itself because it is made of living material.
Making specific actions, possible everyday acts maybe. Observing movement so as to
design a perspective of tiny details. Bouncing a ball against the wall, painting one’s lips,
triggering an alarm, kissing the wall, losing things. I imagine a field of action, a scheme to
defeat. Designing shared platforms, a live action, an action that leaves a mark, an action for
the camera. It has three simultaneous instances.
A research process, rehearsal of the actions to be developed both for the camera and in situ.
Using these actions built by condensing an act, I will make the most out of an event by
repeating it until it becomes saturated and a new event is generated. That is, how long does
it take for something to happen?
Actions to analyze are:
• Kissing the wall
• Kissing the body
• Erasing the kisses with CIF Cream
• Bouncing a ball
• Triggering alarms
• Losing things
Instrucciones para besar la pared (2013)
A form of writing, a dance, a map of love made with the body and the mouth. A mark, a
repeated and constant stamp. Many different ways of kissing, with an open mouth, with the
mouth closed, dragging the mouth; blurry, faint kisses on top of one another. The image, an
accumulation of kisses built slowly and progressively. A sustained action made live.
Visualizing the presence of the attempt, observing accumulated fatigue. The wall will be a
This action starts with a request to acquaintances to write instructions to kiss a wall. I gather
that material and I ask friends/colleagues to read those instructions to me for two hours.
I realize that I have to be more specific in my request for writing. Many actions become too
abstract, difficult to translate into a physical action. I try again and ask them to send me
more actions. I once again edit the material I received and make a new version, a fresh
reading, a new rehearsal. In this material, I am alone kissing and then erasing what I did.
Erasing is another action in itself, I do it with CIF Cream, but rather than erasing, I unveil
the flaw. Erasing a mark creates another one.
I decide to take this action to a bigger collective action, one that lasts longer. With the
writings of others, I put together my own version of “Instructions to Kiss the Wall” and I get
about 25 instructions. I record them one by one, and with the random version provided by a
computer program I create 4 different lists of instructions. They all share in common that
they last one hour. I rehearse with the 13 people working on the project, 3 men and
10 women. I ask for their opinion about the instructions they receive from the recording.
They point out that the time between one action and the other should be longer; also the
variations of the levels of approaching the wall, kisses are usually higher than lower; and
some other doubts. I work again on these instructions and with that final version I run the
A live action: for two hours, every Friday of the month, 13 people will kiss the wall by
following recorded instructions. There are available recordings for those willing to
participate. Three Fridays they kiss the wall and the last Friday they erase the accumulated
kisses with CIF Cream. On the opposite wall, there are two videos showing a solo of the
same action: kissing in one video and erasing in the other.
Currently, I continue working on this project.
Galería Arcimboldo and Oficina Proyectista
A photographic image always about to defeat itself because it is made of living material. Making specific actions, possible everyday acts maybe. Observing movement so as to design a perspective of tiny details. Painting one’s lips, tying one’s hair, bouncing a ball.
Borde para tres (2009 2011)
One Sunday, reading a Spanish magazine, I find a text that says something like: “[...] fragments of the world seek each other so that the world may come into being. How do we choose the fragment with which to assemble?”
If I could represent an object that would trace a path along the intimate and personal space towards a visible place, what shape would it take? What is the shape of affection? Borde para tres works on the body as a territory that is built with the presence of others. The space other people occupy near me has the potential of surviving, of leaving a mark, and also of shaping a little bit the personal space.
En vuelta (2008)
En vuelta seeks to reverse the subject-in-movement/object relationship to grant the object the leading role. A hail protection net, commonly used in gardens, changes the environment and playfully pretends to be a structure conveyor belt. The belt works as a system on the structures it transports. It moves both subject and object with the same operation, causing more than a dance in an accumulation of successive operations. Mechanical poetry in motion.