Biography
I was born in Buenos Aires, the fifth of seven brothers. I studied Graphic Design at the ORT, Painting with Jorge Demirjian and Drawing with Tomas Fraccia. Since 2005 I’ve been assisting Sergio Bazán’s workshop. In 2006 I studied History and Contemporary Art Criticism with Hugo Petruchansky.
Wipe Award, special mention. I’ve exhibited my works in La Casona de los Olivera, curated by Marcelo de la Fuente; in “Fervor 142”, in the CC Borges Contemporáneo, curated by Laura Spivak. I took part in 2005 and 2006’s Periférica, and in Ruth Benzacar’s Curriculum 0. My first individual exhibition took place in Appetite and was called “La Tierra fue una vez un animal gigante” (Earth was once a giant animal). An intervention on the walls of Warclub, owned by Daniela Luna.
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'd choose "My friend". Because it seems rather believable and fantastic at the same time, and such combination is what interests me the most. Perhaps also "Giant", because, as I was doing it, all I was thinking of was matter, generating rhythms, semi-silenced spaces and other quite geometricals. I could have continued painting it for a much longer time.
2. In general terms, how would you suggest to approach your work?
Mainly, from whatever place people want. I don't believe a work should be seen as from a particular perspective. But you do have to know what was filtered in the process to achieve that result, like with sci-fi literature, Carl Sagan, comics. The Neverending Story; in order to try to create landscapes or habitats for heroes from the future or from the past.
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?
A very important reference to me is Ana Gallardo. It's amazing how she manages for her work to have a immediate effect on oneself, such as Leo Estol's back on March 2008; there was an omnipresence that was almost scary. And Friedrich, Böcklin, Odilon Redon, the entire "Triumph of Painting" book, Olafur Eliasson, Marcia Schvartz and N. Drake. And Kippenberger's schizophrenia, how good would it be to end that tiranny of "noticing that everything is from a same author". And Tara from Heavy Metal, And Andrei Rublev, Mad Max.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The first exhibition by Adrián Villar Rojas. The work "Martin Kippenberger enseñándome a pintar" (Martin Kippenberger teaching me how to paint), by Amadeo Azar, where "Martin" is whiping the painter. Florencia Bohtling exhibition in the CC Rojas. Oligatega Numeric in "Fantasmas en el Di Tella" (Phantoms at the Di Tella). Tomás Fraccia's rather galactic tempera on cardboard landscapes, The video of Sebastiano Mauri's love songs. "Fuerza", Luciana Lamothe at Rosa Chancho and Rosa Chancho's exhibition in Appetite. And those atmospheres that Ariel Cusnir manages to come up with.
