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.
I doubt that some particular piece represents me, I do think that the living body of my work “could talk about me”, all the pieces, from the first to the one I've done yesterday. I also think that my professor task, my wittings, my exhibitions healing and my House 13 and other places management are part of this body. Any way, and attending this kind request, I take of my pieces: It was 2001, I had decided to stop being an artist since a year ago, and I wasn't going to exhibitions and nothing like that, and I was alone, that wasn't that bad but one moment I wanted to have a lot of friends again, and coincidentally with that urge which invaded me, a theater group invites me to assemble “something” for an event that I can't remember now which was it, and they convinced me saying that it wasn't necessary for them to me being an artist. And then I remembered that urge of having friends. I told them yes. And Sofia, a friend gave me the idea of giving to people some of my objects in exchange of a promise that they would take care of those objects and that form then on they would be my friends. As it turned out I went looking for delivering objects , but when Belkys who were mi partner, saw what I was selecting ( little balls, candies, books that I liked, etc, etc) she looked to me and said, Hey Buede, It has to be something painful for you. And so it was...I stuck on the Theater walls 30 cellophane bags in which I put all my precious objects with a short text talking about my relations with each of the objects. That way...a Blur cassette that I used to hear night and day, Madrid's map with all my marks on it of my stayed there, and my Hesse “Steppen Wolf” which was with me since child, among others. In the Theater entry there was a text explaining the procedure. It was the starting point of Strategies project, which consists in sharing photographies and I still work on it. Strangely I don't have any photographic register of this piece, and maybe if I think about this, is not that strange.
2. In general terms, how would you suggest to approach your work?
Like an experience.
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 try to think in the question...as if I start to think about traditions, and my head goes side to side. Maybe I recognize myself in this constant transit state...but at times, when the trip bores me, it becomes unbearable not to get anywhere. Hitchcock and Tarkovsky had always been turning around me. I like Lucas Di Pascuale, Leila Tschopp, Fabio Di Camozzi, Belkys Scolamieri and Gerardo Repetto's works among others, and what pleases me more is that, coincidently, they are good people, perhaps is not a coincidence.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I choose pieces... “Mankind”, a Gerardo Repetto's essay about photography, the “Taxi” video of Fabhio Di Camozzi, the big old Art School corners photographies projected over the new building facade, of Belkys Scolamieri, the “erased drawings” of Nicolas Balangero, Luciano Burba's “buns”, the PTV of Lucas Di Pasculae and the Juan Der Hairabedian portraits, which were the remaining coffee that each portrayed left on their cups...now I remember those, each of them transparencies it procedure, they have a powerful politic charge and most of everything...they makes me happy. Oh yes, now I remember an exhibition that I really liked, a Laura Spivak's exhibition in House13, the opening day a smile was installed for a long time in my face.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I suspect that within the multiple trends that exist in Argentinian art I can, roughly distinguish two groups: who takes their work as a political act and who don't.