Biography
I was born in 1985 in Buenos Aires.
In 2008 I graduated from the career of Visual Arts in the National University Art Institute (Buenos Aires). There I had teachers such as Carlos Bissolino, Martín DiPaola and Pablo Siquier, among others.
In 2012 I was selected to participate on the Program of artists at University Torcuato DiTella.
I attended art workshops coordinated by Fabián Burgos (2006/2007)and Carlos Huffmann (2009) . I also did various seminars in Art History, Film Analysis and Audiovisual Realization.
I participated in various collective exhibitions in galleries museums and cultural centers in Buenos Aires, Bogotá (Colombia), Miami, New York, among other cities.
Individual shows: The guide for the perplexed (2013, Inmigrante Gallery, Bs.As.), The adventure of Mankind (2010, Jardín Oculto Gallery, Bs.As. ), That´s life (2009, Sapo Galley, Bs.As.)
I was selected for the 2007 edition of Curriculum Zero in Ruth Benzacar Gallery and for three editions of the Proyecto A awards for young artist (2006, 2007 and 2011).
In 2006 I was given the Youth Line grant by the Buenos Aires Cultural Fund, in 2008 the art grant of the Metropolitan Culture Fund of Buenos Aires and in 2012 a scholarship trough the patronage of the Minister of Culture.
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.
Instead of a particular work, I would rather refer to the set of paintings that I created last year.
The series was generated from the ambition to synthesize ideas about history, culture and human relations. These primary ideas were the genesis of some elements that began to be insistently present in my paintings. In these works there are vehicles involved in accidents quite often, but the emphasis is not placed on the tragedy or the lack of survivors, but on the inability to reconcile the distance between two points destined for the polarity and the mismatch.
Usually the images I paint have cultural references with minor distortions. In such cases, more than the story of the quote, I’m particularly interested in the ability of these images to create links and chains of meaning with other images. In this sense, the order or the assembly of the sequence has a role almost as important as the image itself.
Formally, I want the paintings to have a precise pictorial nature, with a specific language related to graphics, and I want the images to have a certain lightness and humor to keep the ideas from breaking under their own weight.
2. In general terms, how would you suggest to approach your work?
I do not know if the works are to be read. In such a case I’d propose to use binoculars or magnifying glasses.
To read a work of art, I would suggest to ignore any recommendations, including this one.
Any theory which attempts to interpret a work has absolute validity in the same manner as any premise that is contrary to the latter has equal or greater value.
The images I think of accumulate in a spiral that turns out, away from the center and adding new edges, but always orbiting around the same axis.
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?
Due to the fact that I have more direct contact with contemporary artists, the links with them are greater, particularly the productions of the local environment. In this sense, I feel close to the generation of the nineties, especially the artists coming out of Rojas Cultural Center (Buenos Aires), and who appeared in the present decade.
I will avoid mentioning gleaming names: I could write a long list of artists that interest me or that have influenced me, and the next day I could choose another ones in their place, with the same conviction.
I feel that my main referents are my friends-artists; they have an incredible energy and trying to be at their height is a constant impulse. I learn the most from them.
In very general terms, I admire musicians and I try to nurture from cinema, literature, animation and comic, books of paintings and visual arts. It is important to see Metropolis by Fritz Lang, Fitzcarraldo by Herzog, 2001 by Kubrick and the Back to the Future trilogy.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Retrospectives in the Latin American Art Museum of Buenos Aires (MALBA), to see exhibitions of Jorge De la Vega (2004) and Guillermo Kuitca (2003) made me want to be an artist. When I left the museum I felt my bones shaking.
United Factory Workers [Fabricantes Unidos] by Eduardo Navarro. I think the exhibition talked about everything without saying much, just like its author. Each time he chooses a word or places an object in one place makes it so incisively that it seems that the blade could cut the air.
The exhibition by Matías Duville in Sendrós Gallery (2007) let me shocked.
The works together and individually by Diego Bianchi and Leo Estol are noteworthy because of their ability to get down to earth ideas that float in the collective unconsciousness of a city. I find fantastic that their exhibitions set heated discussions.
I find relevant works and actions by Rosa Chancho and the movement that some exhibitions generate in Appetite Gallery.
The exhibition Gardens of May [Jardines de Mayo] curated by Fernanda Laguna in the building of the newspaper La Prensa and the various editions of Open Studio [Estudio Abierto] (especially the 2007 edition). Aaaaaa by Martín DiPaola in Braga Menéndez Gallery (2008) was the painting event of the year. In Ruth Benzacar Gallery, recent exhibitions by Pombo, Gordín, Ballesteros, Villar Rojas, Iuso and Siquier.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
Perhaps the best thing is that there are few common elements. The Argentine art is increasingly diverse and dispersed.
In the last fifteen years there are clear lines drawn by the Rojas Cultural Center, Belleza y Felicidad Gallery, scholarships and art workshops, the emergence of new galleries and people with energy and desire to do things. There is considerable energy in young artists but there’s still a need a more robust market and a larger circuit. I find it remarkable the number of collective projects, the generosity and the emotional joints that are generated among artists.
