Biography
I was born in January 17 of 1981 in Buenos Aires City, Argentina. Bachelor of Arts at the Prilidiano Pueyrredon Arts School in 2003, as a Painting National Professor the School's last year as Arts National School. I studied photography with Filiberto Mugnani, ceramics techniques with Andrea Fasani and Marcel Parks. I coursed some Sociology and Arts subjects at the Buenos Aires University. Since 2004 till nowadays I realize some studies around contemporary art with Alicia Romero and Marcela Giménez, and sociology with Eduardo Rinesi. Since 2005 I go to Tulio de Sagastizabal's workshop in his studio.
Now I'm working in my Visual Arts bachelor thesis.
I'm really interested in collective artistic creations projects. I've participated as contributer for the Artechacra.com Project by Rodrigo Vázquez and Adriana Minoliti and with “30thirty” by Andrea Fasani. And, since the exhibition I had organized in my infancy house before we sold it (“At home”, April 2006) in which I invited 11 artists for making interventions in that moving/removal state, I have participated in the formation of the “The Movers”(La Mudadora) group, with whom I still realize experiences in this transition state places.
In march of 2006 I created with Pablo Caracuel the Projectionist Office , Projects Big Gallery, with which we propose an experimentation, production and genuine exchange space between contemporary artists from Argentina and others countries, being our objective to create a relational instance where the creative process could be valued and to open a field for projects experimentation sometimes a little utopians.
I do exhibitions, from which I emphasize the individual exhibitions: “From factory to private neighborhood” in Projectionist Office (2007), “Horizontal Drawings” in the Olivera's Rambling (2006), and with Verónica Olivieri in Crimson (2006) and with Claudia Toro in Domus Artis (2008), and from the collective exhibitions, the ones I've done with “The Movers” (La Mudadora): “At Home”, “Cramer 3535”, “Alsina”, “The Movers at the Rambling”, “At the Fat uncle's place”, “Double Circulation” (2009), with Artechacra in ArteBA (2006) and Peripheral at the C.C.Borges (2005), “The rambling at the recoleta” in C.C.Recoleta (2007), “From shadow to Light” at the CEC Contemporary Expressions Center of Rosario (2006), the Re-collection an the Malba (2004), and “Exquisite Corpse” at the General San Martin Cultural Center (2002).
I'm giving Art History and arts lessons at the Buenos Aires National College.
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 choose my work “From factory to private neighborhood” which continues growing and transforming. In fact I believe that one of it's particularity is that it can be almost infinite, to be always in this “project” state, in two ways: One, is in the installation direction. The combination of some of the productions realized with a determinate space what makes the work to unleash the appearance of the work in different ways (the work can mutate). The constructed and cut out space: represented in photographic images, drawings and objects, in relation with another space n which the viewer is circulating. The other, is in the possibilities of continuity direction. The chance to open the conformed archive: to keep taking pictures, making tours, interviews, interventions. The work includes various elements that I have been producing while the time was passing by and I was founding diverse materials: landscapes, leaflets, conversations, situations but always with the same place, among the space is always in transformation. It's about the old chocolates Nestlé's Factory built in 1931 in Saavedra's neighborhood in which a housing complex called “A countryside in the city” began to be constructed at the endings of 2004. Since that moment till middle 2007 I conformed an archive, personal, based in one tour: walking around the blocks with my photographic cam. In relation with time, it's basic for me because it takes me to the right moment of transition, to work with the particular gap which is opened into unreality which rise in something that is not what it was but is not yet what is going to be. I'm interested in the crosses between poetic and political, documentary and sentimental, descriptive (anecdote) and abstraction (concepts).
2. In general terms, how would you suggest to approach your work?
I don't know exactly which would be the way that I could suggest for seeing my work, I expect someone to find one or better if there are many. I can share some intuitions that are around me: Things can always show something more of what they are apparently showing. The perception of the shape, sometimes, can reveal some possible contents, that till one moment we were unable to imagine, to clear diffuse senses, or complexing the obvious, what shows as evident. I think that to generate an estrangement of something well-known in daily life can help to denature it, and then, undertake it to a critic, a reflection. Maybe there is some kind of melancholic accent in some works, that is why I would bet to melancholy as a knowledge way and to some art works as ways for producing memory.
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?
Marcel Duchamp is a fundamental artist for me,because of the opening he provokes. I recognize my self in some kind of ready-made production. I love Dada. I'm interested in conceptual arts; the experiences of the Situationist International, of Tucuman Arde (burns). I like Kurt Schwitters, Christian Boltanski, Gabriel Orozco, Andreas Gursky, Hans Haacke, Bernd & Hilla Becher and Jannis Kounellis works. Also León Ferrari, Víctor Grippo, Alberto Greco, Andrea Fasani, Claudia Toro, Patricio Larrambebere, Jorge Macchi, Marcos López, Gabriel Bagio, Magdalena Jitrik, Julian D´Angiolillo.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Factory Ship (Buque Factoría), Project 30 thirty by Andrea Fasani, Eloisa Cartonera, Momo, Germinate fields (Germina campos), Live Archive, the exhibitions in the Projectionist Office, the experiences with th movers (La Mudadora), Healthy Pen, The Guard, Who shuts up bestows, Sound Instants, Ruined Gallery, etc. because these are projects that revitalizes and creates ways of doing, to flow, to expose and share contemporary artistic practices in dialog with different needs. The Open Studio realized in the Post Offices Palace, because of the urban intervention experience. The retrospectives exhibitions of León Ferrari, Liliana Porter, Roberto Aizenberg, Pablo Suárez and Res at the C.C.Recoleta, Victor Grippo, Jorge De la Vega and Oscar Bony at the Malba because of the opportunity to be with works of artists whom enriches us.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I believe that there is a necessity of generating alternative spaces to the existent ones that emerges in artists , where the links can be done in some other way, with other intentions. I think (or I wish it at list) that a kind of self management capability, coming together in groups and generating projects is reemerging, maybe more common in the '60 but crushed by the dictatorship and the '90 neo liberalisms, which can serves in a way of aeration and enrichment not only in the artistic field.
