He was born in Corrientes in 1973, Argentina.
1990/93: Ahuva Szlimowicz’s painting workshop
1997/98: Photography by Alejandro Kuropatwa / Photography wokshop with Martín Weber
2003/04: Photographic Image and Idea, workshop with Alberto Goldenstein
2004: Contemporary art workshop with Fabiana Barreda / Urban landscape workshop with Nacho Iasparra / Pablo Vargas Lugo’s workshop (Malba-Jumex)
2005: Intercampos Program. Telefónica Foundation, Buenos Aires.
2007: National Award of Rosario. Castagnino Museum (1st Price)
2006: Photography and Science, Recoleta Cultural Center (2nd Price)
2007: Contemporary Argentinian Photography, Ernesto Catena gallery
2004: Mechanisms [Mecanismos] Photo-gallery, Rojas Cultural Center
2008: At the same time [Al mismo tiempo] Zavaleta Lab gallery
2007: Ghosts in the machine [Fantasmas en la máquina], dpm gallery, Guayaquil, Ecuador / arteBA Fair 2007, Dabbah Torrejón gallery / Maco Fair 2007, Dabbah Torrejón gallery, Mexico city / arteBA Fair 2007, Ernesto Catena Fotografía Contemporánea gallery / Biennale of Contemporary Art of Bahía Blanca / The art of elegance [El arte de la elegancia], Elsi del Río gallery / Lost Modernity [Modernidad extraviada], Alliance Française of Buenos Aires / Buenos Aires Photo, Erensto Catena Fotografía Contemporanea gallery.
2006: XI Federico Klemm Award / Burodijkstra Art Gallery, Rotterdam
Trip space, arteBA Fair 15th Edition / National Visual Arts Award / Chandon Salon, Museum of Contemporary Art of Salta / Isidro Miranda gallery / III OSDE Foundation Art Salon / Buenos Aires Photo, Dabbah Torrejón gallery / 15 x 15, Praxis gallery, Miami.
2005: Panoramix 05, Proa Foundation / II arteBA Petrobras Visual Arts Price / Photographies, Faculty of Psychology / 15 x 15, Praxis gallery / II OSDE Foundation Art Salon.
2004: National Visual Arts Awards, Palais de Glace / Chandon Salon, Caraffa Museum / Photography II, Museum of Modern Art of Buenos Aires.
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.
The pictures from “Carnival” [Carnaval] series where taken in a laboratory that develops medicines, where tests for resistance to HIV retroviral treatments are being run. They are single-exposure images with a medium format camera, in order to achieve greater definition and a 130 x 145 cm size. Afterwards they were digitally manipulated in a post-production process. To envision aesthetic possibilities in an image where one would only expect to find technical coldness or pathetic accents is the most interested point about this work. To unlock the careless and almost festive quality of the lab machines’ powerful colors implies, maybe, some sort of discreet violence. An approach to this paradox is what these pictures suggest.
2. In general terms, how would you suggest to approach your work?
The development of series is one of the main characteristics of my work. I create several images on one theme to match the results of one photograph in relation to the other; through photographic comparison and multiplicity, I appreciate the certain aspect that characterizes the final image. I’m interested in how to carry out manipulations, alterations to the images. I consider the consecutive digital process that affects the shrinkage of the photographic images by changing its definition, and the role it plays in contemporary art. I try to make the spectator identify with the photographic image in order to situate him or her in their own previous experience of previous images or in already known photographic genres.
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?
In the international field I feel very close to soviet photography, like Boris Ignatocich together with Alexander Rodtchenko. The searching for new and distant perspectives found unprecedented possibilities of experimentation. The American photography from the ‘30s like Harold Edgerton and in Europe, the German photography like the Bechers. Today I feel that my peers in the local context would be Dino Bruzzone, Alberto Goldenstein, Nacho Iasparra; and in the international field, Thomas Ruff, Thomas Struth, Jeff Wall.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The show that I think really meant something, in the way of showing an artist’s view, was Mar del Plata by Alberto Goldenstein in the Photo-gallery of Theater San Martín in 2001. The way of showing a city, this way of seeing it, is not intuitive: it seems that the picture is made to record, to document. It is an investment, from photography, in the search for formal perfection of the place’s beauty. It is, at the same time, a different city than the one we remember; it just seems to be another, it becomes strange and unknown. It is seen in a different way, photographed during that exact time where the sun or the clouds. It has a certain look like a filming stage, where at any moment everything can change like when tourists arrive for the holidays; and fortunately the city can be documented before this change by Goldenstein’s view.