Biography
I was born in La Plata in 1979.
I attended the Escuela de Artes Prilidiano Pueyrredón, from which I graduated as a Nacional Professor of Painting. I work in Buenos Aires, on my atélier called “Las Dos Fridas”, and in Córdoba. I work using painting, photography and animation.
Next to María Viglia and Adrían Bertol we came up with a travelling collection of ballpoint pen drawings, “Sana Birome”, that was exhibited in Unquillo, Córdoba, in Periférica 2005 and in Belleza y Felicidad, Fiorito (2006), these last two in Buenos Aires. New versions of this collection took place in 2007.
Next to Adrián Bertol we’ve founded a performatic object called “La bibliotequita lunática” (The lunatic little bookcase), a small wheeled bookcase keeping travelling notebooks in its shelves, made by different artists.
I took part in several collective exhibitions in Córdoba, Paraná, Buenos Aires and Guadalajara (Spain).
I’ve exhibited my works in collective exhibitions such as Curriculum 0 (2007) and Galería Ruth Benzacar (2008).
I’ve participated in an artist residency in the Delta del Paraná, invited by the project Archivo Vivo (2008)
I’m currently working on my Bachelor thesis, tutored by Juan Doffo and Marcelo Giménez, and I’m attending Diana Aisenberg’s workshop.
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.
The Lunatic little Bookcase, a lunatic-travelling piece of furniture. A performatic object. It's a small wheeled bookcase containing books/notebooks made in transit, as the result of the coexistance of artists and disciplines. Each notebook creates a non-lineal network of meanings were an intimate and condensed story can be read, a story crossed by different experiences and times, and full of simultaneous details. The bookcase invites people to build up a space and time together; it's a cultural/nomad object.
2. In general terms, how would you suggest to approach your work?
I'd suggest an approach that takes into consideration the means or materials upon which the work is made, as well as the environment to which is destined. Also, a certain receptivity to avoid the common sense and allow the irony.
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 recognize myself in the fusion of certain aspects of surrealist, dadaist tradition, with elements taken from conceptual art, multimedia, minimal, decorative arts and art brut. My most important contemporary references are artists coming from different places, conforming languages that are difficult to classify.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Eloísa Cartonera. Through this project, I was able to perceive a certain way of doing art and provide answers and interpretations to some aspects of our native reality by means of the creativity, joy and sadness. I'm personally interested in the symbolic element, the significance of the book as an object and its possibilities of poetic resignification. Periférica: I consider it an experiment that has allowed me to see very interesting things, and grow up, entering into some sort of dialogue. It's a great opportunity for many artists to get together and meet their public, and it permits and encourages the visibility of emergent artists and projects. I'm also interested in projects such as "Belleza y Felicidad Fiorito", and Viviana Macías' "Archivo vivo". I choose this project because of the level of experiences they propose, and because of the exploration of new spaces of dialogue.
I consider to be relevant those works and exhibitions that I've seen by Marcelo Bordese, both individually as with fellow artist Mildred Burton. I'm also interested in Gabriela Bejerman's performatic and literary work. The work by Vicente Grondona. I was extremely interested in a cycle called "Música con todas las letras" (Music in every sense of the word), made at the Centro Cultural España-Córdoba, conceived and curated by Andrés Oddone. It proposed a series of dialogues between musicians and writers, exhibiting the resulting material. I'm interested a great deal in the experimental emphasis of such a proposal.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
At first sight, I find it difficult to establish common elements, and my answer doesn't seek to include or group together something so general As "argentine art". What I can talk about is what I consider as affinities, and those are, maybe, the discovery of a certain syncrhony between the individual, the subjective, my own conception of art and other creative universes, weaving a network of common feelings, a spiderweb in constant movement. In that sense, I feel some common elements: A search for experience, the boring through different languages and disciplines. The extension of its field of action into a social, natural and cultural fabric to where the artist allows the commitment.
