Caro Chinaski was born in Buenos Aires in 1975. Comic-book author, illustrator and self-taught plastic artist. She has shown her work mainly in Argentina (CC Recoleta, CC Borges, Galería del Infinito, Espacio 6.0) and also in Mexico, Spain and Germany.
She currently works as an illustrator for La Nación newspaper (Final Page), she works in the color team for an Argentinian animated feature film and makes comic strips and illustrations for “lifestyle” magazines. She is the editorial art director of two specialized magazines. She did the cover art for the next record to be released by Alika & Mad Professor (Ariwa Records) as well as four other covers for the record industry.
She is a contributor to fanzines in Argentina, Chile and the USA. She is a participant in the comics collective “Historietas Reales” (Real Comics) and “Chicks on Comics”. She paints on the street, without belonging to any collective, since 2005 (whenever she finds some time and a very tempting wall). She has published her first comic book, “Indecentemente Cursi” (Indecently Corny) through Editorial Domus in Argentina, and in March, 2009, Editorial Planeta will publish an antology of her illustrations and texts.
* August 26th to October 10th, "Testaski Convoy Crossover, Colección de Frescos" at Espacio 6.0, Gurruchaga 1287 -Palermo_ Bs.As. from 10 to 20 hs.
* September 24th to October 31st, "No uso bolsas plasticas" Nunca fuimos eternos (“I do not use Plastic Bags.” We were never eternal). Collective show, Centro Cultural España, Paraná 1159, Bs. As.
* October 7th to November 2nd, "Fondo blanco, tinta negra" (White Background, Black Ink) Solo show at C.C. Recoleta, Junín 1930, Bs. As.
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 believe that the work that most represents me is my comic book “Indecentemente Cursi”. It consists of autobiographic comic-strips, the script is very simple, but obsessive on the visual level. They are chinese prints on paper, with infinite minimal details which at times say more than the actual text. Even though this book is not my favorite work, I recognize that it represents me better than the others. The overload of textures is commonplace and complicated (to me, of course) throughout my work.
2. In general terms, how would you suggest to approach your work?
I have no suggestions about that. I am not very pretentious or demanding as far as the gaze of the other is concerned. I make sure that I do my part well (yes, I am obsessive, as I think I’ve mentioned) and I let the audience receive my work as they please. I think it is the best way to reach someone (a little, a lot) and to allow this individual to freely relate with what I have to show.
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 cannot be very concise in this regard. I have different influences from all disciplines. Umm… Peter Bagge, Roberta Gregory, Basquiat, Julie Doucet, Klimt, Modigliani, T-Rex, The Ramones, Vivienne Westwood, Wodehouse, Bukowski, Rimbaud, Manara… No, I can’t.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
All of the editions of “Expression Session”, because they are collective works by very different artists and it is a project that is self-managed, free of charge, accessible, popular and open.