Biography
Visual artist, graphic designer and publicity art director. Developed her artistic inclinations by attending workshops in visual arts: Sergio Bazan, Pablo Siquier, Miguel Harte, Mirta Narosky. History of art: Rodrigo Alonso, Rafael Cippolini, Laura Batkis, Marta Zatonyi.
AWARDS AND DISTINCTIONS: 2008, Talart 4º certamen internacional de pintura digital, 2nd prize, España / LXII Salón Nacional de Rosario 2008 / Microespacios Centro Cultural España BA / Subsidio Fondo Metropolitano de la Cultura las artes y las ciencias / Festival Optica2008 España / Cuarta Semana del Arte Rosario / 2007 Salón Nacional de Artes Visuales Palais de Glace, Nuevos soportes/ animacion digital Mi Osito y yo / Bienal Nacional de Arte contemporáneo Bahia Blanca, Seleccionada, Las señoritas, dibujo digital, / 2006 Salon Nacional de Pintura y Arte Digital UADE, Seleccionada, Clavel del aire, dibujo digital, / ART + TRUST. Seleccionada, dibujo digital / 2005 / VAD Festival Internacional de Vídeo y Artes Digitales en Gerona. Seleccionada: animacion digital Lady Milk y el pintor. / INCUBA, Primer festival de arte electrónico en la Patogonia Austral Argentina Seleccionada: Me gustas/ / Salón Nacional de Artes Visuales, Argentina Seleccionada. animacion digital Lady Milk y el pintor. / Concurso HP Invent Argentina 2do Premio (Edición de obra). Arte digital. Clavel del aire. / Premio Beca L'Oréal Argentina, seleccionada, pintura Ariadna. / 2004, Salón Nacional de Artes Visuales Argentina, Mención de Honor. Palais de Glace, Nuevos soportes/ animacion digital Lady Milk. / Premio Limbo a proyecto multidisciplinario experimental Argentina, Seleccionada: Por el mundo Lady Milk and Baron Rojo, MAMBA, Fundación Telefónica / 2003, Premio Limbo a proyecto multidisciplinario experimental Argentina, Seleccionada: Animación digital Sin titulo. MAMBAFundación Telfónica, / 2002, Premio Limbo a proyecto multidisciplinario experimental Argentina, Seleccionada: Animación digital Sin titulo, MAMBA, Fundación TelefónicaPremio / Banco Ciudad, Seleccionada: Objeto, La mesa está servida., MNBA Bs As, Argentina. Salón Nacional de Artes Plásticas , Seleccionada: Pintura, Sin título. Museo de Bellas Artes, Castagnino, Rosario, Santa Fe –Argentina
SOLO SHOWS: 2007 MaisonTRASH Bermegui / Zalazar Desfile. Los Angeles California, MaisonTRASH, El Mariscal, pcia de Corrientes, Curadora Florencia Sabá / 2006 MaisonTRASH, Proyecto de arte y vestimenta, Bermegui / Zalazar . Diciembre, OPerformance Queridas y Boutique de venta, Periférica Centro Cultural Borges / Noviembre, Performance Queridas, Estudio Abierto Centro/ Buenos Aires. / Octubre Galería Appetite Performance Queridas / Septiembre, Desfile Apasionadas, Fiesta MASIVAA Club Niceto / Julio, Desfile Apasionadas, Centro Cultural Borges Espacio Contemporáneo/ - Marzo, Desfile y tienda de venta, intercambio artistico, Santiago, Chile / 2005 Expresiones mínimas – Bermegui/ Zalazar –Bahia Blanca, Argentina. / 2002 Erotaxia - Filo, espacio de arte, Bs As, Argentina / Erótica Urania BSAS02 - Bs As
GROUP SHOWS: 2008 / ARTvertising Centro Cultural Borges / Expotrastiendas Galería Matilde Bensignor Mapa Liquido, “Trasfondo” curadora Florencia Sabá / “ Ellas por ellas” Galería Matilde Bensignor / ArteBA Galería Matilde Bensignor / 2007 , Lid Campal El Mariscal, pcia de Corrientes, curator Florencia Sabá / Lid Campal Acampa! Curator Florecia Sabá, espacio Onírico Palermo. / Museo del libertino Casa de Castagnino, director Mariana Castagnino / Gallery Night Abril “One night stand” at La Europea/Marca Futuro, curator Florencia Sabá. 2006 Soho Telo Show “De pistilo en pistilo”, installation. Buenos Aires / 118 Curitiba. Bermegui, Finke, Dufva Nielsen– Memorial do Curitiba, Brasil. / / 2005 Feria Periferica, arte de base, CCBorges, MaisonTRASH, Buenos Aires / 2004, 118. Foz de Iguazú– Mayo, Fundación Cultural, Foz de Iguazú, Brasil. / "S/TSobre la homosexualidad masculina ", galería. Elsi del Rio, curator, Alina Tortosa, Bs As. / 118. Buenos Aires. Bermegui, Finke, Dufva Nielsen. Pedro and Jaqui Green, gallery. – July, Bs As / 2002, 13b, Museo de Bellas Artes, Lucas Brulio Areco, Posadas– 13b - Museo de Bellas Artes René Brusau - Resistencia, Chaco – 13b -Museo de Bellas Artes Bonaerense de La Plata - Bs As / XXX - Centro Cultural Nordeste - Chaco - Argentina 13b - Centro Cultural Recoleta - Bs As / 2001, BSM – Argentinian House in Jerusalem –Israel.
PRESS
La República, El Cultural Pcia Corrientes 6/22/07 Arte y moda MaisonTRASH / La República, 6/22/07 Arte y Diseño July 14 y 20th, 2007 MaisonTRASH / Victoria Lescano 6/16/06 Suplemento las 12 / Hecho a mano / Marta Dilon 09/24/04 Página 12 / Solo Hombres. / Daniela Valiente 5/2/04 A Gazeta Arte , Foz do Iguazú / 118 Uma exposicao bem diferente. / Daniela Valiente 5/6/04 A Gazeta Arte , Foz do Iguazú / 118 Aliados do bom humor e da irreverencia. / Sandra Russo 12/09/02 Pagina 12 Suplemento las 12 / Arte Hot / Gustavo Insaurralde 12/12/02 Diario Arte al Dia / Se atreve a legitimizar el placer.
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.
My work is thematically framed within the scope of Erotica. I represent what I consider to be erotic, sensual and sexual in different visual languages. I have always utilized fragmentation, to highlight sexual parts of male and female anatomy. This has been a way for me to emphasize and limit my discourse to only that upon which I intend to reflect. I believe that the work that most represents me now is Maison TRASH, a project that I developed together with Analía Zalazar over two years ago. MaisonTRASH also deals with fragmentation, joining pieces of fabric by sewing them; but the point is to transform an object with an identity, to return to the body, to be used, lived and enjoyed. MaisonTRASH pulses with the eroticism and sensuality of the beautiful, the strange, the different, the femenine. This particular project has allowed me to fulfill certain expectations concerning the development of my work, I have found another language, I am exploring other forms of production: working together with another artist, establishing a permanent dialogue about the work, experimenting with other materials (in this case fabrics, threads, stones, blades), the stich becomes the brushstroke, a dressmaker. One of my favorite artists is Jessica Stockholder. For a long time I have looked to and admired her ability to paint in space. Today, I feel that I too paint in space and that my painting has gained life, movement. Although I have worked in various languages, painting, sculpture, digital drawing and animation, MaisonTRASH allowed me to create another pallette, another composition and another form of showing: the body and movement (performance). I feel this project to be very representative, it enhanced my creativity, pushed my limits, and posed constant challenges which involved contact with other disciplines including music, video, photography, design, lighting, make-up, and hair-styling, as well as dialogue with the architecture of the location of each show/event, taking possession of it so that the same collection looks different with every presentation.
2. In general terms, how would you suggest to approach your work?
I would like my work to read as a whole, and that if anyone sees one of my works, they will seek others, because in every one of them there is something of the former and a little of the next. I would like my work to be appreciated emotionally, since it is my emotions at play there: intimate, vulnerable, complex, and that it is the mistreated and misunderstood world of the erotic and the sexual that has prompted me to address them.
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 think that, within the framework of what is called contemporary art, the boundaries between what is art and what is not have become more flexible, there are works which fit within different traditions simultaneously. I would place myself within the tradition of artists who have reflected on life by concentrating on erotic and sexual imagery. Some years ago, a friend introduced me to the erotic poetry of Urugayan author Marosa Di Giorgio. If I were a writer, I would like to write like her! In her texts I discovered a carnal paradise that is entirely heterodox. The intensity and permanent exaltation and freedom in her stories have happily influenced me. Concerning my influences, they are classics such as Matisse, Van Gogh, Rodin, Gauguin, Picasso. There is something that interests me in each of them: the use of color, the method of composition, the treatment of eroticism, the voluptuous, and feminine beauty. The vibrant stroke of Philip Guston, the marvellous ability of Jessica Stockholder to mix materials and paint on space. The clean and pure dialogue between form and color in the work of Tom Wesselmann. The intimate autobiographical work of Louis Bourgeois. As of recently, I would include Gustav Klimt ,because of his obsession with the represention of female beauty. Among Argentinian artists, I am interested in the work of Miguel Harte. How his landscapes flow between the human and the animal, the precious attention to detail in the recent work of Marcelo Pombo, the extreme and visceral work of Guillermo Iuso, among others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
2006, Marcelo Pombo Ruth Benzacar. I would emphasize it first for its technical virtuosity and the explosion of colors. Secondly, for the sensation that descending into the gallery gave me, when I found myself in such a immmaculate, orderly, pretty, shiny, merry, and tidy world, so distant from the other world I had just left above! 2006, Lola Goldstein “Médano” CCRecoleta. I admire when the work of an artist speaks to me from the silence, just because I am there, in its presence. It was a delight to enter this beautiful parallel world where for some moments I could feel like Gulliver, and in other moments so small, hoping to stay and rest by one of his landscapes. Marina de Caro “Boca Corazón”. An intervention in the form of knitted little skirts on the columns of Mamba. The softness, the femininity, the warmth of the cloth, in dialogue with the hardness of the columns, the phallic nature of their prominence, the frigidity of the cement and the ample space.
