I was born in San Miguel de Tucumán in 1981. Since I was 5 until I turned 18 I lived in a mountain village that gave me green colours and the most touching and clear sunsets I’ve ever seen. In 2000, I moved to the small city of San Miguel and start studying to become a psychologist. I abandoned that quickly for a journey to the sea. In 2001 I start studying to get a bachelor’s degree in Plastic Arts, at the Faculty of Arts of the UNT, where I attended workshop C; I graduated in 2006. Being one more victim of the Art center, we’re called the “NON-DEGREE”, because our degrees are being processed since then.
2001-2006: Collective exhibitions at the Faculty of Arts, UNT.
2003-2005: A member of the Performance Artistic Collective “Quiero que nuestro amor dure para siempre” (“I want our love to last forever”)
2006: Artist meeting at Tafí del Valle, coordinated by curator Eva Grinstein and organized by “La Baulera”.
2006: Individual exhibition “Homenaje” (“Tribute”), video-installation, Teatro Alberdi.
2007: Collective exhibition “Tributo a Frida Kahlo a 100 años de su muerte” (“Tribute to Frida Kahlo, 100 years after her death”); “Las dos Fridas” (“The two Fridas”), Photography-Performance; coauthor: Diana Domingo García. Centro Cultural E. Flavio Virla.
2007: Five-artist Collective exhibition of contemporary art; Fundación Lucci.
2007: Expotrastienda, “Amanece” (“It gets light”)
2008: MY VIDEOS; Collective Video-Installation “Mi cielo, me gusta llamarte así” (My heaven, I like to call you that way).
2008: Artist meeting “Entrecampos Regional/Tucumán”, Spanish Embassy Cultural Office, coordinated by P. Hatkim and Ticio Escobar.
2008: Public space exhibition by contemporary Tucumanian artists “Proyecto Lazos”, San Miguel de Tucumán Municipality.
2009: Public space multidisciplinary collective exhibition “SOS Tierra 09”, composition No. 25 from the Exterior series “Summer video still” – video.
"Campestre" de la serie CAMPO TUNNING (2009)
On the girl in red, placid amidst the pigs…
It’s not spontaneous photography, but rather the contrary, a detailed premeditation of each one of the elements that conform the framing, thinking it in a cinematographic way as a “little precinct whose interior must be fit out, equipped (Emmanuel Siety, “The origin of the shot”) . Shots first created on paper, like sketches, in order to later on take the photo. Each photo is a fiction that is presented as true. When one chooses it as a medium, one has to think that the shot embodies that which refers to reality, to the real presence of space and body as if placed in fron of the camera whose trace is captured by the film.
Each shot shows nothing but what is essential for the story, story that, in its function, is unproductive; within the sucession of these we might become aware of something that never happens, each shot is associated with another in a narrative that has nothing to do with the classic triad of beginning, crux and ending, but it’s rather a bigger crux where the conflict is exposed but never evolves.
The image of the the girl, placid amidst voracious pigs doesn’t seek any categorical affirmations. It rather deals with embellished dramatism, exhibited without deprivations.
Possibility of a place (2005-2007)
reproduction, accessibility, recreation of a familiar place through reproduction of ambient sound* (2) *(Sound device for individual use)
It gets light (2005)
The non-action turned into an object for prolonged observation. It gets light – Do you know the time? – I don’t know, ask her. – You ask her. – I don’t want to.
- Florencia Gulglielmone
- Carla Grunauer
- Pablo Ricci