He was born in Buenos Aires, in 1978. He studied for two years at the Prilidiano Pueyrredón School of Fine Arts, and for another two years at the School of Design and Communication. He took a Clinic on Work at the Rojas Cultural Center, in 2006. Since 2004, he is part of the Provisorio-Permanente (Preliminary-Permanent) group, with which he made several exhibitions. 2008, “Toponave”, at the Spanusg Cultural Center in Buenos Aires, together with Oligatega. 2007, “Duchamp in Buenos Aires”, National Fund of the Arts. 2006, “Someone’s calling” [Alguien llama], an installation in Ruth Benzacar’s Gallery. 2006, “Memory 1976/2000” [Memoria 1976/2000], 30 years after the coup. “One exhibition five proposals” [Una exposición cinco propuestas], at the Palais de Glace.
2005, “Curriculum 0”, Second place in the annual contest of Ruth Benzacar’s Gallery. 2004, “When he isn’t watching us”[Cuando el no nos mira], theatrical experiment with objects, conceived, directed and staged by Provisorio-Permanente. 2004, “Fresh-faced Winter” [Invierno Imberbe], at Espacio Callejón (Alley Space).
Individual exhibitions: 2007, “Sepia”, at the contemporary space of the Borges Cultural Center. 2007, “To nestle” [Nidificar], installation in display cases at the Spanish Cultural Center in Buenos Aires. 2008, “five figures” [cinco figuras], installation at the General San Martín Cultural Center.
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 choose the last individual installation I made in the General San Martín Cultural Center, which comprised the five Platonic solids, which are figures with unique geometrical features, as their sides and internal angles are congruent. They are the cube, the tetrahedron, the octahedron, the dodecahedron and the icosahedron. They are built from a plane. I drew the figures with pencil, ruler and compass on a 3 mm. MDF, and then, after cutting, tracing and folding, I assembled them. The installation shows the 3-D figure and also the plane from which it was cut, displaying the relation between figure and plane (for instance, the cube is assembled from a cross formed by six squares). Laid out around the room space, totally white, the figures appear as emerging from the architecture of space itself. The choice of white allows us to see their pure form, without chromatic distortions.
2. In general terms, how would you suggest to approach your work?
I don’t have a precise, well-defined way. I put everything on the work’s materialness. The object has to “speak” for itself. Obviously, I put an interpretation of my own, but the spectator has to create one as well. Thus, the work benefits from several perspectives which enhance its meaning. If I had to suggest a way of reading, it would have to be that constrained by the object’s limits.
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?
Starting from Dada, as a milestone in the history of art, at different moments my work went through Expressionism, Informalism, Arte Povera, etc. All were moments I considered part of a process of learning, with concrete results in the work, like footprints, tracks left in a road. I am currently part of a collective of artists, with whom I develop a kind of work and a personal production that approaches Conceptual Art, Geometric Abstraction, Optical Art and Spatialism.
I find Victor Grippo’s work deeply moving, and I consider him a role model. I’m also interested in Roberto Elía, Juan Andrés Videla, Rodrigo Vázquez, Max Gómez Canle, Joseph Beuys, Jan Svankmajer, Herzog, Christo, Tadeusz kantor, David Lynch.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Víctor Grippo’s and Roberto Elía’s retrospectives at the Recolecta Cultural Center had a profound effect on me. I’m interested in the road towards simplification and integration, a holistic consciousness of sorts I find in these two artists’ work. Series as a way to express an develop a concept and the integration of art with other disciplines, like science, religion and philosophy, trying to bring together what was separated by history’s specialization and division of knowledge: a return to the old alchemy, in which there was a constant feedback between materiality and spirituality. This is the guiding principle in my artistic search, and is, to a great degree, what I see in Elía’s and Grippo’s work.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The only trend I’d like to highlight is the fad for “trash”, for installations with everyday objects, garbage, products or packaging. I consider this is simply a naturalist representation in the tradition of Coubert or Corot, almost Costumbrismo. We just have to take a walk out in any city to see millions of instant installations, with staggering levels of depth. Putting them in an exhibition is just taking them out of their original context.
Outside fads, I think all trends, classical and experimental, coexist freely nowadays.
From an institutional perspective, I think that, due to market-related reasons, there is a promotion of investigation towards technology, leaving aside the rest of the aspects comprised by art.