I was born in Cordoba in 1968 and graduated from the School of Arts, University of Córdoba in1998. I continued my education by participating in initiatives such as the workshops given by the Antorchas Foundation in Córdoba in 2001; the workshop conducted by TRAMA in Tucuman, 2002; Profile of Artist at Spanish Cultural Center of Buenos Aires in 2004. In 2006, following a selection of Trama, I joint “Painting alem da painting” workshop organized by CEIA in Belo Horizonte , Brazil. In 2007 I participated of Shatana International Artist Workshop, Jordan.
In 2001 I founded the PTV -Carrier Party Voters or Partido Transportista de Votantes-, (today it is a dormant cell). From 2005 I direct along with John Der Hairabedian a workshop for analysis, production and visual arts thinking, it is called Work Reading and it operates in House 13, Córdoba.
For some time I have been doing my job trying to: 1) Dialogue with politics and recent history but without the enthusiasm of the complaint, 2) Be a nomadic artist regarding the question of , how to produce?. 3) Engage with my surrounding through the work. 4) Think of artistic practice, as a learning process that fills itself with meaning. 5) Generate possible dialogues between public and private issues. 6) Get infected by other practices that seduce me.
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 PTV, (Partido Transportista de Votantes ) -Party Voter Carrier-(2003-2005). The format was that of a political party. The work began with an action I made in the presidential elections of 2003. I (on behalf of the PTV) went tracking people, picking them up from their houses, took them to vote and left them back home. The intention was to combat patronage, bringing people to vote no matter who. Those people, who responded to my invitation and were transported, then joined the ranks of the party. A structure that I thought would be a simulation, became real. My social environment, the one I had been working with in different ways when it comes to production of work, got into the project and turned it into a collective. We did a great act of the PTV, a second Transportation of Voters in municipal elections, several Assemblies, a First Congress, a Bar Peteviano and a set of pieces (model, graphics, advertising campaigns, Toys supporter, flag, t-shirts, speeches, literary texts , videos, jingle, figurines of the game, a dictionary of PVT words, partisan press, a menu, pins, armchair supporter, designs, merchandising, etc.). What I'm most excited about the PTV project is that relationship between group and individual, we achieved that everyone contributed to the collective, enhancing their individuality.
2. In general terms, how would you suggest to approach your work?
Something that generates me much excitement is to present my work, to take a journey through different times, seeing particularities of each project and situations that are maintained over time. As to the viewer, I would not suggest any particular way.
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?
I like to move, I feel often linked to the painting and its limits. I am very interested towards the work of Kavakov, Richter, Malevich and Gabriel Orozco.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Some works that have been significant for me: a cage / five-pointed star by Hugo Vidal, a chicken with Paul Scheibengraf trunks, the theatre play Torero Portero by Etefan Kaeghi, Beatrice, the action in which Soledad Sánchez Goldar washed the feet of her grandmother and other works that I do not remember at this time. They were significant to me, simply because they generated on me a certain desire to keep on working.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think we could group, on one side, that that is visible, and on the other side, that that we fail to perceive easily.