After having studied Fine Arts, he did a study trip across Latin America. He has exhibited his work in Quito, Ecuador, San José, Costa Rica and Mexico City, and worked as an Adjunct researcher for the Instituto de Investigaciones Estéticas of the UNAM (Mexico), where he also taught courses on serigraphic techniques throughout several countries of Latin America.
Back in Buenos Aires, he took part on the Kuitca fellowship at Fundación Proa, and the Barracas workshop with Luis Benedit and Pablo Suárez. He also was a co-founder of TRAMA, a programme for the cooperation and confrontation between artists, from 2000 to 2001. Since 1992 he has done several individual exhibitions, among them, one at the Museo de Arte Moderno de Buenos Aires. He also did several collective exhibitions and takes part on numerous contests both in Argentina and abroad. He was awarded with a Konex prize and a Leonardo prize on Digital Art. He lives and works in 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 Conquest of the Desert" (vinyl print, 180 x 360 cm, 2002) is a work that represents quite well my work method. It was made in 2001, during the episodes of economic crisis that stroke Argentina during that year and the following ones. It has a realistic style, as for the photographic manipulation did not modified the essential characteristics of the shots, and represents a scene that is also portrayed in the AR$ 100 dollar bill: a work by Argentine painter Juan Manuel Blanes, that commemorates the Conquest of the Desert carried out by General Julio A. Roca between 1876 and 1879. Blanes' work was made using photographic models and built up composing an epic and monumental scene.
In order to execute my version of it, I interpretated each one of the horsemen as civilians in arms, covered so as to protect their identity, and accompanied by a multitude of real demonstrators and policemen that I registered during those days of unrest, back in 2001.
It is, then, a photographic collage consisting on more than 35 different shots in order to set the whole scene, that took several months of production and postproduction and that was entirely made using a 1 megapixel regular digital camera.
2. In general terms, how would you suggest to approach your work?
My work feeds itself from numerous documentary sources of historical, social and artistic characteristics that enrich their interpretation. Quotations or codewords to which I make reference in many of my works are the result of the multiple legacies that others have left behind, and show how the facts of our present time redefine them by giving them new semantic orders that add and multiply themselves, boosting its meaning.
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?
Within the panorama of local or national plastic arts, I recognize myself, generationally speaking, as connected to those artists from the 1990s, but not to the 1990s aesthetics, that has dominated the artistic scene back then. Me and other artists of my generation were working outside the more visible tendencies of the 1990s, developing productions that went from objectual art to photography, using methods that I would consider as being projectual. I'm interested in those Argentine artists from the end of the XIX Century who, despite the fact that they were aware of the modernist tendencies, built up an collective imagination put at the service of the state, with productions that served as testimony of the connections between art and ideology. I'm also interested in artists like David Hockney, to me an important reference point and example of a catalyst of attentive sensibility that never loses the hopes of discovering beauty in the world around us. Also, Spanish artist Joan Fontcuberta, that pointed me a way for the use of images, thinking them as pieces of work as well as documents.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I think that, should I have to come up with a really significant exhibition of the last 10 or 15 years, I would definetely choose "El tao del arte" (The tao of Art), in the CC Recoleta. This exhibitions takes charge of make a whole new generation of artists visible, artists that had searched, beyond tendencies, new forms of expression and materials and found a sensibility appropriate to their historical moment, but without making any statement or manifesto. It was an exhibition that closed a period of time that somehow remains unexplored. I`m also interested in artists like photographer Fabiana Barreda or Lux Linder, that have been, to me, valuable counterparts, even if dealing with completely different producion criteria, from the construction of metaphors to their dismantling. From end to end, individual poetics make these impossible worlds turn real.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
We Argentinians tend to group things into tendencies. Within Argentine art, every ten years, the quest for a certain tendency builds up a new imaginary. During the 1990s, the genuine interest for experimental productions, in terms of forms and materials, was clear. Such forms and materials were fixed, without even considering their direction, to a particular moment of our political daily living. And ended up adding photography as another tool in the world of plastic arts. As photography was legitimized as a plastic material, natural tendency turned to new different types of poetics dealing with familiar and close contexts. Poetics connected to a local kind of sensibility, defining a latin spirit during these first years of the XXI Century.