I was born in Mar del Plata (Buenos Aires), and I currently live in Tandil (Buenos Aires). I’ve always been interested in visual aspects. I used to love cinema as a child, and wanted to be an animator. I move through several disciplines and languages: video, installations, interventions, drawings, performances. I’m currently working in a medium-length film.
El Galpón (The storehouse), a workshop I had with some other artists; the Antorchas Foundation’s clinics on Work Analysis and Production for regional artists; and the Kuitca scholarship in the Abasto workshop have been some of the most important artistic experiences of the last few years for me.
I’ve been part of several exhibitions, both in Argentina and abroad, and I’ve received some accolades on my work: New media and installation mention (2004), National Hall of Visual Arts / mention at the Last Venus Biennial (2003) / Experimental video, Jury’s mention, Mamba Arts and New Technologies Prize (2002).
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’ll choose “Tissue”, an ephemeral intervention in a housing complex in Montreal, which gives new meaning of an everyday space with elements related to the industrial and architectural history of the place * * The cooperative is located at the Sainte-Marie and Saint-Jacques district, in the Northeastern section of the city, an industrial area with several buildings and warehouses which are currently unoccupied. The Cooperative Lezarts is the brainchild of a group of artists that recycled a factory of children apparel and turned it into a 30-appartment complex. Currently, the building’s facade has iron stairs going from the underground up to the second story. These external stairs are a distinctive element of Montreal’s architecture. Project: using the external stairs of the Cooperative Lezarts as a structural element in the intervention, I designed an irregular and colorful pattern interweaving different kinds of fabric through the stairs railings. “Tissue” means “fabric” in French, but it has a second meaning: “weave”. The idea was to create a visual weave in the six stairs, with color fabrics and materials given by the neighbors, thus giving rise to a second weave based on collective work, a second set of interrelations between we who lived in the housing complex. The project was conceived as gradual work, and was carried out during the thawing months, March and April. I conducted various activities beforehand, aiming at capturing the community’s attention and get them to help with the gathering of materials. The project grew with the participation of several neighbors, both when we built the visual patterns and also when we removed it in order for the creepers to grow during spring.
2. In general terms, how would you suggest to approach your work?
I want it to be read as an old or common idea that is part of a new scenario, which spurs laughter or surprise and gives new meaning to everyday situations.
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’m interested in the Di Tella Institute’s experiences and happenings, in Alberto Greco and his Vivo Dito, the more conceptual practices in the art of the mid-sixties. I’m also interested in Ana Mendieta’s, Lygia Clark’s and Helio Oiticica’s work related to the body, to games, to healing and therapeutic aspects. Internationally, I must mention Surrealism, Dada and Fluxus as movements that I consider strong as a change of paradigm between art and life. I also love surrealist experimental cinema: Buñuel, the Canadian McLaren, Caroline Leaf, Bruce Nauman, Rebeca Horn, Francis Alys, Antoni Muntadas, Pierre Huyghe, Jenny Holzer, Matthew Barney.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Le Parc at the National Museum of Fine Arts, in 2000: light, movement, illusion and immersion; Liliana Porter at Ruth Benzacar’s Gallery: videos with little objects from her collection and drawings on ruled paper, in 2000; Art in progression [Arte en progresión] at the San Martín Cultural Center, an exhibition with many artists and formats, curated by Graciela Taquini, stimulating and varied, in 2003; Brandazza de Aduriz at Malba, a very intense group and performance experience, in 2003; Last Venus Biennial [Última Bienal Venus] in Tandil (Buenos Aires), artists living in the same place during two days, working on the same project, in 2003; Open Studio at the Kuitca Scholarship Space, a new meaning for the Oligatega Numeric’s workshop, Elisa Strada’s intervention with balloons, and Valeria Maculan’s installation in the yard, in 2005; Daniel Joglar at Dabbah Torrejon Gallery, interventions, poetry and everyday life, a master of whispers, in 2004 or 2005; Damages [Daños] and other exhibitions by Diego Bianchi at Belleza y Felicidad (Beauty and Happiness) y Sendros’ Gallery, in 2004-2005; Verónica Gómez’s Carrier Pigeons [Las palomas mensajeras] at Open Studio at the Correo, in 2006