Alejandro Tosso


Este diálogo ha sucedido. (O debo decir que Alejandro Tosso se preguntaba y se contestaba a sí mismo y mi presencia sólo era una excusa):
Qué influyó más en mi vida…la Iglesia Católica o Hollywood?
Hollywood, sin duda, ni en los más elevados estados de misticismo infantil frente a la cruz o cuando pintaba los frescos de la Capilla de su Embajador Martini natal, pudo imaginar la cantidad de sangre, tortura y dolor que Mel Gibson le mostró en La Pasion de Cristo. Eso verdaderamente fue elocuente. Hollywood, hace del mesías pura carne, sangre, tendones, fibra. Pero no le resta glamour, porque esa carne es Caviezel, Dafoe, Robert Powell o Pepe Cibrián y, en todo caso, uno se pregunta cuanto de ellos tendría Jesús y no a la inversa.
Y Alejandro tiene esas influencias en su mente, las reconoce, son su materia, a toda esa oscura y medieval iconografía eclesiástica y bastante raída, a toda esa parabolería sin héroes, a toda esa alusión al dolor y el sufrimiento mortificante, Alejandro Tosso la hollywoodiza a su antojo, y pone de manifiesto su paganismo fundamentalista. Después de todo, la Iglesia en su pueblo era la continuación de la plaza y la plaza la continuación de su casa, y ahí nomás la vastedad de la naturaleza, el pensamiento mágico, las apariciones de efebos en las siestas desoladas, las doncellas en delirios de datura… no son cosas que a uno vayan a sorprenderle en medio de las pampas…
Y esto es una falsa simbología de las mentiras que sostienen occidente … una herejía, bah!
En Hollywood ves a Brad Pitt y no a Aquiles; a Elizabeth Taylor y no a Salomé. Con Tosso, buscás al famoso de la foto, porque la reminiscencia obliga, pero no lo es, porque de algún modo su mentira es un guiño: todo es trucho, nos dice.
…la patria segura de su instinto fue ganando terreno, por cierto se fue al carajo (me creerían si les dijera que uno se para en un vértice del pueblo de Ale y desde ahí puede ver dónde termina de ambos lados?).
Lo seguro de su instinto le dice: con todo eso que sos hacé tu obra, usá en ella todo eso que sabés, fotografía, digitalizá, collaggeá, photoshopeá, cortá y pegá, embellecé, y arruiná, pintá, calá, y estáte muuuuchas, pero muuuuuchas horas quemándote la cabeza con ese asunto del arte. Pero por sobre todo divertíte, macho!.

Texto: Karina Valobra

medidas variables


Photography – The representation of the environment and the relation between the beings who inhabit in it, they reproduce and die which we found at the Natural Science Museum of the City are fragments of the planet existence official culture story. The museum, 'immortalizer' of what he is not, presents representation objects of life representations bordering the absurd: taxidermy, hanging skeletons, and paper flowers. The representation of other environments, daily environments, are susceptible for being organized by the frame of the camera giving shape to an universe where the language coexistence repeats re signifies resigns designates. The mantelpiece, the ornamentation elements on a living room table conforms universes of declared and latent meanings. In this environments the same in a museum suggests mythical stories (heaven representation, time and parallel universes), ways of survival and life and culture reproduction (the myth, sexuality, history and techniques transmission. Both the museum story as the captured from the oncoming daily life can't be read as sequence (the way as science presents the evolution of men in a straight time line) but as plot, in which the language condition is deeply questioned, the right way of saying things and the complex condition of photography and it's way of dealing with it's own story and it's own technique in a dark environment, impoverished, forced, tricked, digitalized.

Karina Valobra

Flash back (2007)

This video belongs to the “Gaps” exhibition in which I refer to it in the answer of the first question in the questionnaire.

The image of word (2007)

This video belongs to the “Gaps” exhibition in which I refer to it in the answer of the first question in the questionnaire.


Digital collages, multiple photos placed on the same level (in some cases up to 20 photos) give rise to a new time and space that removes them from their primary crop of reality.

GAPS (2007)

Video installation + photos. This pieces illustrates the first question of the questionnaire. PHOTOGRAPHY (essence and appearance) Time as sequence, as frostbite, as repetition, as creation

Lara Marmor / Karina Valobra

MERH LICHT! (2006)

Digital photography over exposed direct shoot. MERH LICHT! “More light!”, in German. Last words from Goethe. It was revealing for me to hear what a blind man says about his blindness. His blindness was yellow, bright (and not dark and black as I imagined all blindness). He was forgetting the shapes of the world that he had perceived through his eyes till then with the passage of time and the evolution of his disease. I tried to imagine it in thousand of ways but I just felt worried with the idea that as he was losing those images, his vision was getting lighter. Tosso's pictures, evokes, in some way, to that man blindness, the game between light and memory. The light glares the memory that is photography, wounding it at the same time revealing on it what would ever been seen in any other way (was that light his blindness or this oblivion?).

Text: Karina Valobra


Drink is water
Food is grass
You are thirsty of what?
You are hungry of what?
Food – Arnaldo Antunes

The called basic needs can probably be summarize in some that in numbers wont exceed the tens. If we exercise listing them, we could also see that are repeated from a period to another and from a culture to another. But the way that, in each moment and each place, this need has been satisfied is quite different, because every time the human creation overflowed its mere functionality. Every time the man has been filled with the covering itself problem, feeding and to guarantee his species reproduction, to name a few, and however all societies had eaten, dressed and given birth to new rites. In Alejandro Tosso's photographs food is presented/hided under symmetrical shapes, streamlined or converted into mandalas. The dishes are frames, small installations. Referring to Doña Petrona's cookbook, a certain period and social class icon, precursor bursar of media creole gastronomy, which places the culinary arts in the massive consume aesthetic. In some dishes, the shape's overflow trivializes deliberately the matter, alienates its nutritional function, becomes something else (an apple becomes a container for toothpicks to be used). In others, food cut in slices, arranged on a plate looking like a flower made of watercolor. According to Petrona, no good food no happy family, and happiness and abundance, goes together, although that unique and unrepeatable dish be swallowed in a short time, regardless of the diners about the aesthetic of its decomposition. The happy family meal is quickly placed in the kind of ephemeral things, with probabilities to be extincted, scarce.
Like the cook, Tosso plays with the appearance. Photography is and is not photography. When presenting it, he hides it.
Art, like all the human needs, is socially instituted, every time, under certain rituals. One of the capitalist rituals that takes part in art institutes it like a consume product, makes it enter into the economy rationality. Placing it in the shortage logic, of consumable. Trivializing it like strictly necessary production. Alienating it from its undetermined value, like a basic human need.
(Or is the art ration swallowing capitalism, with no importance about the aesthetics of their decomposition)

Text: Karina Valobra

NAP Images of a memory) (2005)

“Images of a memory”, portrays hoy maternity, from the homey rituals -cooking, cleaning or knitting- creates an appealing universe but also disturbing and mysterious.
This theatrical and pictorial photographs, like Caravaggio, takes the nap light as emotional and psychological metaphor.
Following Manuel Puig's or Pedro Almodovar's tradition, his pieces thinks sharply from humor and tenderness the complexity of the family world.

Text: Fabiana Barreda.

THIS IS NOT (2005)

This are drawing pictures. I like to take photographs without thinking too much, get carried away by the look. What comes next is domestication, discipline...I found impossible to photograph for months. Usually when I stop photographing is when reason, thoughts, head are so inserted that leaves me blind, I stop seeing, thinking that I see. I started drawing what was in front of me capturing my attention, it was the best exercise I've ever done for relaxing the intellect and for start seeing again.

Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad