Biography
I studied graphic design, painting, drawing, engraving and photography. I developed a project that consisted of visual and sound games. In addition I have produced objects and “situations” made in wood, paper and painting. Between 2000 and 2005 I joined the art collective Terraza, we edited books and made audiovisual projects, here you can see what we did: www.terrazared.com.ar.
I also worked in the popular workshop of serigraphy and at the MDT of Lanus. I have shown my work in several collective exhibitions and took part of the last edition of the Kuitca scholarship. I also teach and show my interactive projects in diverse places. My work interconnects various areas including visual arts, visual communication, graphic design and digital interactive developments.
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.
Firefly soundtrack. It is an audiovisual interactive game where sounds are generated through the manipulation of abstract forms on a screen. I like working with the concept of intersection, with crossover of different art fields: paintings, abstractions, electronic games, sound. The development of this work was to me like a journey that departed from certain coordinates, although without a defined destination. The work is then what remains out of this experience in which I called Eduardo Arauz to work in the sound and Horacio to do the programming. Also with the collaboration of Milton Laufer. I am particularly interested on exhibiting this work in very different contexts inside and outside the arts surrounding. At the Rojas Cultural Centre the project was placed on a public area, a space where people just stayed to play with it for a while, I enjoyed just to lay down and observe people interacting with it, to see the different kinds of relationships that the device generated, to discover the way in which different generations approach technology and different codes. It works like “a musical instrument of lights in the space”. I like very much when people let themselves to be crossed by a work and vice versa. The CD ROM version allowed the project to circulate through many computers, through many intimacies. There’s also an online version on the internet. I am interested on what is hybrid. Experiments are processes that come from very different origins; I am interested on proposing new languages and ways or relating. Abstraction is one of the ways to face the work, to dissect the subject; in this case, the digital image, the color, the sound and the different actions that modify one another, also the spectators-performers-players.
2. In general terms, how would you suggest to approach your work?
When choosing to exhibit the work in different contexts, certain ways regarding its interpretation are being proposed. The suggestions are there, within those decisions. The form is the work itself and how it’s set at public space. Personally, I like these contexts to change exposing the same work at different places, situations and times, generating different possible audiences.
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?
The most obvious would be to link my work to the constructivism and the abstract art tradition: painting, sculpture, architecture and design. It is more a way to face the work that a tradition itself. I like working on the edges of the art fields, the intersections, erasing the limits. Some referents are: Liliana Maresca, Cornelia Parker, Lina Bo Bardi, Brian Mckern, Gordon Matta Clark, Fabián Burgos, Clarice Lispector, Michelangelo Antonioni, Norman Mc Laren, Roberto Aizenberg.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Two painters invite 35 artists to exhibit their work at the living room of their own home opening it afterwards to the public, genius. The Victor Grippo retrospective at the MALBA, to see the whole collection of his wok at one same location was very intense. Roberto Aisenberg in Recoleta Cultural Centre. Marcelo Pombo’s drawing at the Rojas Cultural Centre, transforming the space. Tulio de Sagastizábal, Magdalena Jitrik y Gachi Hasper at the MNBA by the concentration of their energy. Jane Brodie at Beauty and Felicity gallery, tar blocks as precious stones, synthesis and poetry.
