Born in Mar del Plata, 1962.
She is graduated from the School of Visual Arts of Mar del Plata. Since 1990, lives and works in Buenos Aires. In 1996 was awarded with the John Simon Guggenheim Fellowship for Fine Arts - New York - USA. In 1998, with the Fellowship for creation in Visual Arts of the Antorchas Foundation, in 1993 with the first prize to the New Argentina Painting of the New World Foundation and in 1994 with the Winners Prize at the National Museum of Fine Arts.
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.
There are two opposing blocks of 101 pieces each, small acrylic paintings on cardboard. There is the block of the poor children and the block of the wealthy children. Each piece is reflected on the opposite one. "For the sadness of the rich children, for the happiness of the poor ones" was one of Carlos Menem’s phrasings at his election campaign. Departing from it, I worked with pairs of figures such as: wrist - broken wrist, arms shield – football team shield, gift - skull package etc; “a guard” of pacifiers surrounded all the pairs. It was first exhibited at the Fundación Banco Patricios and then at the Havana Biennial, 1994. Unfortunately it got lost at Barajas airport while being transported to Germany for a Latin American Art showing. I choose this work for its the form, content and final destination.
2. In general terms, how would you suggest to approach your work?
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?
“My tradition”, departs further from a family and personal experience than from a "Great Tradition of Art". I am a primary school teacher - and so is my mom-; I have worked in this field both in Mar del Plata and Buenos Aires until 1996. My childhood days at the sewing workshops with my grandmother and aunts (six women) who measured, cut and chalk drew, are very present to me. Obviously, my works have that stamp of a possible crossover between pop, geometry, minimal and conceptual. But that is only a post box to put a posteriori whatever I was doing, even before I could realize what it was.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Fox in the mirror of Lili Porter, the paintings of Pablo Siquier those of Marcelo Pombo, Grippo’s tables at the Havana, Bony memory, Avello paintings, Girón’s fabrics, Leon Ferrari. Until the soul by Ontiveros, Marotta and Identity.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
As Lili, …since it is optional, I’ll leave this one for the next time.