He was born in Buenos Aires, Argentina.
When he was 17 years old, he emigrated with his parents and brothers to Mexico City, where he became a photographer in the Active School of Photography and at the Workshop of Monday (coordinated by Pedro Meyer) in the Mexican Council of Photography.
In 1989, he wins the Young Photographer of the Year Award in the ICP International Center of Photography (New York, USA).
Between 1990 and 1997 he’s been working on his project on Cuba. During this period he constantly travelled to the island and lived in La Habana for seasons.
In 1998 he published his book Laminars, the 90’s in Cuba (Ediciones La Marca, Buenos Aires/Hong Kong).
He is a photographer of broad international background, and his work has been exhibited in individual and group exhibitions in USA, France, Italy, Spain, Cuba, Mexico, Argentina, etc. Among other distinctions he received the scholarship Mother Jones (USA, 1990), the scholarship for artistic creation of the Antorchas Foundation (Argentina, 1994); the scholarship of the National Arts Fund (Argentina, 1999), the Grand Prix of Honor in the National Visual Arts Hall (Argentina, 2000) and in 2002 the John Simon Guggenheim Scholarship (USA, 2002).
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 think that what I produced during 2006 and 2007 represents my present. If I ought to choose a single image I can suggest "The Mountain" [La montaña] or "Olympic Pool” [Pileta olímpica], two pictures of large format, black and white... Also the 37˚ 57' 35" S 57˚ 34' 47" W Series, that records the lives of several characters in an abandoned amusement park for many years. It reveals my interest in long-term works. Regarding the production process, I have a preliminary investigation, that can take days, weeks or months, before reaching a place with my camera. Once in place, the process is simple, always working with natural light and with a large-format camera. I take several pictures for each scene. Generally I work alone.
2. In general terms, how would you suggest to approach your work?
The way that each spectator thinks it’s convenient. I do not feel it necessary to condition the experience of the viewer with tips on the proper way to read it.
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 clearly recognize myself as a documentary photographer... I work with large format cameras, I use film, I reveal my negatives and essentially I operate on the reality. There are several related contemporary photographers who interest me, including: Alec Sotho, Hiroshi Sugimoto, Rineke Dijkstra, Graciela Iturbide, Abelardo Morel, Taryn Simon, among others. From earlier generations I can name Manuel Álvarez Bravo, Martín Chambi, Man Ray, Humberto Rivas, William Egleston, Richard Misrach.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I'm not used to go to many exhibitions, but I have strong memories of the mattresses of Kuitca, that I saw in Documenta (Kassel) many years ago.