I was born in Buenos Aires, May, 1980, at 11.45 AM.
I read a lot, speak little, but everything takes me a long time to be done.
Depending on the day, sometimes I’d like to kiss everyone on the mouth, sometimes I’d deliver knock-out punchs.
The days in which I’d kiss everyone I feel happy and light, and everything looks like an opportunity and a coincidence. The other days I feel awful, and the only way to feel better is by drinking alcohol. There are also intermediate days.
During those intermediate days, I’ve studied for periods never exceeding the 3 years: Chemistry, industrial design, special effects, acting, photography, work clinic and courses of specific stuff.
I feel protected by art.
I tend to have serious problems with institutions and words.
So far I’ve developed experiments that eclipse for a little while and, if possible, institutions and archetypes to see what happens.
Teamwork makes me happy.
Translating, at least for a few instants, feelings and thoughts with forms and experiences, also makes me happy.
I believe in telepathy.
Some exhibitions:
2008: “Retrospectiva”; Grupo Rosa Chancho – Appetite.
2007: “Bola de Lodo”; Grupo Rosa Chancho – Appetite
2007: “Fuerza y Elegancia”; Grupo Rosa Chancho – Mitlag Home
2006: “Rosa Chancho está en construcción”; Grupo Rosa Chancho.
2005: “Arquitecturas Transparentes”; Castagnino
2005: “Laser”; Roberto Vanguardia
2004: “Etimología”; Museo Castagnino – MACRO
2003: “Etimología”; Boquitas Pintadas.
2003: “Súbita”, Currículum 0, Ruth Benzacar art gallery
The following were and still are pillars of my education:
Valeria González
Mónica Girón
Verónica Gómez
Vivi Tellas
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 work that I choose is Rosa Chancho. I do have to point out that it’s not only mine, since I share it with Julieta García Vázquez, Mumi, Javier Villa and Tomás Lerner. I’ll comment, then, my perspective of it by transcribing some notes that I’ve taken between August and September, 2008. Modules of thought, Learning kingdoms. I’ll find myself being the owner of a powerful idea.
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In general terms, how would you suggest to approach your work?I’d rather not suggest anything.
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?As for the tradition, it’s difficult for me to answer this. I can only think of ridiculous answers, as in the I-Phone 3G tradition (those you can touch and locate cartographically). I mean we cannot longer think in terms of traditions. We know we’re getting closer. References: I’ll limit myself to the visual arts field, those who have been touring all over my head certainly once a week for
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Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain whyOnly the ones I’ve seen: “Daños”, by Diego Bianchi at Belleza y Felicidad; “Campo del Cielo”, by Faivovich-Goldberg at the Correo Central; “Códex Platino”, by Miguel Mitlag at MALBA; “Ocho pinturas y un objeto”; by Marcelo Pombo at Ruth Benzacar; “Intergarden”, by Marisa Rubio at Appetite; “Fabricantes Unidos”, by Eduardo Navarro at Galería la Dulce; “Fuerza”, by
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What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
