- María Allemand
- Mateo Amaral
- Matías Duville
- Mariano Giraud
- Mónica Heller
- María Ibañez Lago
- Federico Lanzi
- Malena Pizani
- Lula Mari
- Guillermo Faivovich
- Iván Galliusi
- Hector Miranda
I am an artist from Mesopotamia, the region between the Uruguay and Paraná rivers, and I work collectively and individually in visual arts and music.
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.
“Mute Drum Kit” is a sculpture I made in 2005 with metal, rubber, wood, glass, polystyrene and a clock and a digital chronometer. It imitated a kit of practice drum pads, usually called “batería muda” (Mute drum kit). On the rubber representing the floor tom’s drumhead there’s a color ink drawing of a monkey hanging from a branch and touching the water surface, creating ripples. Another drumhead has a drawing of a Datura flower on the polystyrene surface, covered with a glass and a metallic ring which used to be part of a wall clock. The rest of that wall clock is on the third stand of the drum kit, giving the hour within a blue frame taken from a mirror. I conceived this work based on a didactical object: a rubber board glued to a wooden one, both rectangular and of 15 cm. x 20 cm, which is used to practice percussion techniques. When I studied percussion, I used this object on a daily basis, and, as I also drew then, I covered its surface with drawings and superposed colors. I was interested in using the idea of percussion to describe time and, simultaneously, combining this idea of time with an external tool, by means of including the clock: internal time and external time joined through the player’s body. The player’s self-hypnosis and time’s unification, once the point of emptiness of meditation has been reached. The monkey drawing is a reference to the meditation techniques of certain Japanese Buddhist cults. The flower is a detail on shapes and frailty. The work’s style could be defined as “indoor contemporary sculpture”.
2. In general terms, how would you suggest to approach your work?
I’d suggest for my work to be read as a stone aflame. It is something constructed which produces energy when brought out of order, part of which is projected as information by the human cultural brain. It looks like a joke, and it’s true.
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?
Parasitic art with soft boundaries? I don’t understand what you’re talking about. “Painting teacher” is rather traditional, isn’t it?
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
León Ferrari, master of the symbolic anti-Christian discourse. That’s a relevant one. It’s a sign fight.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
Pro-globalized art of international competence University imitative art Touristic art Hippie anthropological art Design art Therapy art Anti-stress art Negative vibrations art “Tuned” art