I’m a visual artist, teacher and a researcher. I was born in Córdoba.
In 1990 I won the Pintura Pro Arte Great Award and I moved to Buenos Aires, where I live. Later on I founded arteuna.com, an Internet space dedicated to art in multiple forms, which I run non-profit.
I was selected to be a resident artist in the Franklin Furnace Foundation (USA), in the “The future of the present” web project. I’m a teacher in FUC and UNA, where I research with a Program of the Ministry of Education
Science and Technology; I’m director and a member of the jury that examines degree, master and scholarship thesis.
I presented more than 30 individual exhibitions and 450 collective shows held in the principal museums and galleries from Argentina and abroad, among others: Digital Media, la Nau Valencia, Global Network Project "Remembering- Repressing- Forgetting" (Germany), The Right to hope, One World Art Sudáfrica -travelling though 20 countries-, X Mostra da gravura, (Curitiba, Brazil), Puerto Rico Biennial, international fairs of Miami, Venezuela and Colombia.
I won 30 prizes in engraving, drawing and painting and, since the 90s, with artworks presented in digital media. Some of my artworks were acquired by museums and collectors, both from Argentina and other countries.
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 work I choose was selected for the project called “The Future of the present” [TN: Originally in English] developed by the Franklin Fundace Foundation, New York City, April 2001. YIWE-YIWEb is a performance I did in DCTV (Down Town Community Televisión Center, in agreement with Franklin Fundace), based in the semiotic analysis of a mapuche’s culture ceremonial object. This object is called YIWE and it’s a tiny plate that’s used for the libation ceremony in the Nguillantún mapuche. Its name contains concepts that relate to space, time, communication and equilibrium throughout the ritual. The wordplay refers to the need of communal communication in the web.
A virtual image of the ritual object (YIWE) was manipulated simultaneously and in real time for the audience that was following this on the set, on TV and through the web. This audience used a chat to interact.
This artwork is the continuity of a theory I was investigating since the 80s in Chile (presented in a conference organized for the 5° centenary of the Córdoba University, edited later by Imagin Era –presented in the CAYC- and that belongs to the OEA library). It still constitutes one of the fundamentals of my actual work. I believe this artwork, inedited in Argentina, is of great importance to me: because of its technical and ideological character at that moment -5 months after the collapse of the Twin Towers in NYC-, because it’s a wake-up call regarding the globalization of communications, because of the use of high end technology; and in the web: because of the need of the ritual of a communal communication, against the dangers of global control.
2. In general terms, how would you suggest to approach your work?
As an art proposal that prays for reflection without prior judgments or categorisations of disciplines or trends.
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?
In the first stage of my artwork –that introduced me to Cordoba´s art environment, at the beginning of the 80s- I produced works with natural materials, installations and objects related to anthropologic researches. By the end of the 80s, I started a path that mixed disciplines, where technology was present as a tool and as language, always researching the same topics.
From the 90s onwards, already installed in Buenos Aires, my work took place in the local visual arts field with multi-media intervention: video, Internet, animations, installations, and always confirming my interest in the anthropology theory, in various ways.
I recon I see myself moderately as part of the post conceptualism field and in the beginnings of multi-media art forms.
My previous contemporary referents are Fluxus, Beuys, Laurie Anderson, Mendietta, Grupo CAYC, … and contemporary: Muntadas, Kac, Roy Ascott,...
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
León Ferrari: Retrospective, because it represents a non-commercial art, with identity, ideology and committed; because he has achieved the reflection on the function of art and the curators.
Horacio Zabala: Retrospective, because he showed mainly an inedited artwork although not speechless in times when nothing was said.
Yuyo Noe: Retrospective, because of the richness, the free creativity of a child, the irony and magic of a freethinker.
Margarita Paksa: Retrospective, because without too much technological ambition, she was one of the promoters of electronic arts.
Ar Detroy: Retrospective held at the MAMba, because is one of the first multi-media arts team, with great artistic quality and poetry.
Alfredo Portillos: AEIUO. One of the first mega exhibitions of wide calling but with a very good level, without stereotypes or elitism; and curated by an Argentinean artist, a pioneer of performance.
The ones held at Rojas Cultural Center, Buenos Aires (Argentina): because they formed youngsters in the 90s.
Norberto Gómez: Retrospective, because he showed his great talent and tremendous strength in describing the way he felt his times, even without working for a various years. An intense artist.
Lea Lublin: Present Suspendú (1991). A very important work that reveals a thorough theory investigation, based in the artwork of Marcel Duchamp, possibly created in Buenos Aires. When investigation itself is true creativity.