- Paula Massarutti
- Luciana Passerini
- Cecilia Szalkowicz
- Paola Vega
- María Celeste Venica
- Rosario Zorraquín
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 in some way all my works represents me. I choose, because of an affection issue, an installation that I've done in Beauty and Happiness (Belleza y Felicidad) in the year 2003, which consisted in a series of objects and actions realized since 1996 which included, among others: -A wall corrected with Liquid Paper®; -A giant autograph from the electro clash singer Peaches in bubble gum on wall; -A couple of little toy made with audio cassette tapes; -A dirty TV with the MTV's logo written by fingers on the scree with dust; -An enormous and chaotic collage bombed by fluorescent logo types of the 13/20 magazine (young people emblem in the begging of the '90); -The word 'punk' in polystyrene letters covered with a Teletubbies paper (god save Pombo); -A punk bracelet photocopied and enlarged to four meters; -Some disposable patterns for being used on t shirts for gifts. That's why then, my maximum of work were: 1.The vanguard consists in doing first what is already done!!! 2. “My son could do this!” (my favorite praise...is there anything more pop than what can be done by everyone?).
2. In general terms, how would you suggest to approach your work?
I prefer not to suggest.
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 production is very varied and dispersed. I think the work as a posture, like a construction of a definition in a space. I'm interested in making winks, sometimes, from a cool hunter look, and others from what's obvious or from cliché. I feel myself very near to trends like pop, ready-made and conceptualism. I like Lucio Fontana's cuts, Alberto Greco's head, Joseph Beuys's work, Federico Peralta Ramos, Marcel Duchamp, Andy Warhol, John Cage, as concrete and electronic music. I'm inspired by the consume selection criteria, rock bands, fashion magazines, noise... I don't know. I will better go to the party that Cecilia Szalkowicz organizes in her Bola de Nieve profile answering this question: “This way, I could maybe rehearse some -many- tastes, affects, which could do a wonderful party. Wili Peloche, Bruce La Bruce, Alberto Goldenstein, Wolfgang Tillmans, Gastón Pérsico, Copodeazucar (Sugarball), Roni Horn, David Lamelas, Cosima Von Bonin, Mark Borthwick, Fernanda Laguna, Wes Anderson, Kim Gordon, Francis Alÿs, Marcel Dzama, Rirkrirt Tiravanija, Daniel Joglar, Spumco, Roberto Jacoby, Mariano Mayer, Agencia de Viajes (Travel Agency), Kraftwerk, Eübel, Miguel Mitlag, Verónica Mars, César Aira, Arrepentirse(Regret), Lola Goldstein, Juan Tessi, Andy Warhol, Djs Pareja, Philippe Parreno, Brandon, Rosana Schoijett, Valentina Liernur, Sebastián Bruno, Lisa Simpson, Diego Bianchi, Martín Margiela, Gary Pimiento, Gabriel Orozco, Rudamacho, Félix González Torres, Feliciano Centurión, Max Gómez Canle, Ich, Leopoldo Estol, Damián Ortega, Diane Arbus, Kevin Blechdom, Kevin Smith, Nuevotrabajo (Newwork), Sergio De Loof, Cassetteplaya (Cassettebeach), Marcelo Pombo, Owen Wilson, Delaware, Doug Aitken, Andi Nachon, Gotitaelectrónica (electroniclittledrop), Mike Kelley, Raúl Flores, Xmalinax, Guillermo Ueno, Éxito (Hit), Kompakt, Fabio Zimbres, Enlarge, Sophie Calle, Justus Köhncke, Iñigo Monglano-Ovalle, Miltos Manetas, Alejandro Ros, Otto Seibold, Reynols, Guillermo Kuitca, Hernán Salamanco, Rineke Dijkstra, Fiona Nijensohn, Inés Acevedo, Verónica Romano, Gaby Bex, Villadiamante, Yoshitomo Nara, Nan Goldin, Sebastián Gordin, Planningtorock, Cobra Killer, Gordon Matta Clark, Mark Leckey, Daniel Mirkin Frois, Dominique Gonzalez-Foerster, Ruy Krygier, El lápiz japonés (The japanese pencil), Sofía Cóppola, Eduardo Costa, Máximo Pedraza, Rubén Zerrizuela, Diego Vecchio, Sarah Lucas, Julián Gatto, Matías Rossi, Melina Dorfman, Deborah Pruden, Pablo Lapadula, Rapa Carballo, Cynthia Kampelmacher, Ariel Cusnir, Elisa Strada, Kiwi, Nacho Iasparra, Eduardo Navarro, Klara Domini, Iván Mezcua, Marcel, Jesús and Cleopatra, Vj Lima, 10folios, 4x4x5x6, Fabián Bercic, Guillermo Faivovich, Yanina Szalkowicz, Karina Peisajovich, Nushi Muntaabski, Javier Galarza, María Guerrieri, Matías Duville, Nicolás Mastracchio, Jorge Miño, Isol, Paula Galli, Aldo Benítez, Campeon (Champion), Asimegusta (LikethisIlikeit), Paula Delgado, Carlos Huffmann, Daniel Castignani, Ariel Lavogue, Ariel Mora, Jason Rhoades, Michael Haneke, Alejandro Ikonicoff, Fabiana Imola, Sede (Venue), Luciana Lamothe, Luciana Lardiés, Juliana Iriart, Thomas Demand, John Bock, Vicente Grondona, Donna Huanca, Marula Di Como, Marcelo López, Cristina Schiavi, Cristian Turdera, Christian Dios, Mark Dion, Peter Fischli and David Weiss, Navin Rawanchaikul, Poesiapura (Purepoetry), Shinobu Yaguchi, Leandro Tartaglia, Dani Umpi, Istmo, Instant Coffee, UR, Charly Darling, Jesusjuice, Alberto Passolini, David Lynch, Erwim Wurm, Mandla Reuter, Mariano Grassi, Luis Guerra, Ale Star.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The Ricardo Rojas Cultural Center's exhibition hall, principally, with the artists selection for the Kuitka Scholarships and the re Art Gallery Belleza y Felicidad (Beauty and Happiness) had exerted an unavoidable influence to contemporary Argentinean art . Among others, “Christmas in San Francisco Solano”, by Marcelo Pombo, and “Whom eats from art”, by Pablo Suárez, are the most significant pieces for me.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I've included my answer to this question in the “The world's tomorrow” exhibition (Leopoldo Estol, Ruth Benzacar, '08) in which I replaced the Art Now book pages (Ed. Taschen) with chopped paper.