I was born in Córdoba in 1974. I studied at the Arts School of the UNT. Prior to this I took 8 years of theater classes at La Luna, a place where I underwent an important physical work that shaped the way I understand art.
When I finished my studies and from my thesis, my work began being focused in video; the possibility of recording an event became an essential tool of my artistic preoccupations.
In 2002 I moved to a small mountain village in Neuquén, called Aluminé. It was a radical change in my life that allowed me to unfold and develop my work. The isolation conditions and the inhospital and hostile characteristics of the place ended up being fundamental to me, and extremely motivating. On July 2008 I came back to Córdoba.
Images are crossed by autoreferential experiences, intervening that what surrounds me, both geographically and emotionally.
I’m a spy of this daily environment that I try to resignify, by decontextualizing it, breaking it or divesting it.
I like to research and question myself about my own vulnerability and that of others, by appealing many times to humour and irony.
I obtained scholarships from the Fundación Antorchas, and was invited and selected on several events both in Argentina and abroad.
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.
It’s not easy to choose a work of art, since I consider my work as being a whole. But one of my favourites is Woman’s Body, the record of a gym class at Aluminé’s Municipal Hall. I’m interest in the record of something particular and universal at the same time, bodies in constant movement, in a gym class, an atmosphere that congregates and unifies the necessity to move the body, to try to be in good shape. The different bodies and their possibilities of moving in unison is something that I love. The camera is a spy in a situation that touches me deeply. This is a form of production I’m deeply interested in.
2. In general terms, how would you suggest to approach your work?
I wouldn’t suggest anyone a certain way to read my work. I might say that my work is happy when the viewer somehow identifies with it, sees himself in its vulnerabilities and powerfulness, characteristics that we share both privately and in public.
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 recognize myself within the avant-garde tradition of art linked to life. Those artists that have always questioned those limits where the artistic expression meets that frontier and crosses it, breakes it, redefines it as a question due to the irruption of the daily, everyday order.
I feel Duchamp and Joseph Beuys as references, Also the Fluxus movement, Pina Bausch, Hélio de Oiticica, Ana Mendieta, Sophie Calle, Marina Abramovic, Bruce Nauman, Bill Viola, Tunga.
National artists like Xul Solar, Antonio Berni, Victor Grippo, Alberto Greco, León Ferrari, Liliana Porter, Mónica Giron, Marina de Caro, Claudia Fontes, Lucrecia Martel. Of younger generations, I’m interested in Eugenia Calvo, Tomás Espina, Luciana Lamothe. And the closest artists (and friends) that were and are a permanent influence to me are Horacio Occhi, Valeria Conte Mac Donell, Carolina Senmartin, Leticia El Halli Obeid, Sofia Garcia Vieyra and Irene Kopelman.