Born in Buenos Aires in 1966.
Education: Graphic Design at the University of Buenos Aires (UBA), "Prilidiano Pueyrredón" National School of Fine Arts, 3D Graphics, Pratt Institute NY.
Solo Shows (Selection): (2004) The Soldenhoff Initiative, Urs Meile Gallery, Lucern; (2002) “Paisaje Industrial con Elementos Argentinos” (Industrial Landscape with Argentinian Elements), Lilian Rodriguez Gallery, Montreal; “Miedo de un Planeta Tribschen” (Fear of a Tribschen Planet), Urs Meile Gallery, Lucern; (1998) “Nacimiento Indirecto” (Indirect Birth), Cité Internationale des Arts, París; Argentina 78, Galería del Rojas (1996); Cuadrante del Pampero (Pampero Quadrant), Klemm Foundation; (1995) Mater Triumphalis, Instituto de Cooperación Iberoamericana; (1993/94) “Armas Largas” (Long Guns) 1 & 2, Galería del Rojas; (1992) “Confianza” (Trust), Sala de Lenguajes Contemporáneos; (1990) “Todo es Lindo” (All is Pretty), Recoleta Cultural Center.
Collective Expositions (Selection): (2005) Hier Anderswo, Kunstpanorama, Lucern; (2004) Telefónica Arte y Nuevas Tecnologías Award, Museum of Modern Art BA; Aerolíneas Argentinas Painting Hall, Borges Cultural Center; (2002) Montreal Drawing Biennial; (2001) “En Torno a Aizenberg” (Around Aizenberg), Recoleta Cultural Center; Paysages, Lilian Rodriguez Gallery, Montreal; Bahía Blanca National Art Biennial; (2000) Prodaltec Digital Art Hall; (1999) Fortabat National Museum of Fine Arts Award; “Parsimonia” (Parsimony), Ruth Benzacar Gallery; (1998) “Imágenes de la Argentina” (Images from Argentina), Santillana Foundation, Spain; (1997) “El Tao del Arte” (The Tao of Art), Recoleta Cultural Center.
Grants and Awards: (2005) Mention of the Salón Municipal de Dibujo Manuel Belgrano; (2004) Second Prize for Painting, Aerolíneas Argentinas; First Prize, Telefónica Arte y Nuevas Tecnologías; 2002 Konex Award for Drawing; (1999) Special Mention, Fortabat Award; (1997) Fulbright Grant/National Endowment for the Arts; Braque Award Banco Patricios Foundation/French Embassy in Argentina; Leonardo Award, National Museum of Fine Arts; Third Prize, Bahía Blanca National Art Biennial; (1996) Grant in Support to Creation from the National Endowment for the Arts; (1994) First Prize for Painting from the Honorable House of Representatives (ARG).
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 piece that represents me is an installation I presented at the Patricios Bank Foundation in 1997. It was formed of a trestle, a drawing board, a painting hanging from the wall and a mantelpiece. Each one of these supports included a lineal drawing on metal. I felt it was an achievement to monumentalise the drawer’s testing strokes on each support, make them evident and operative, open up a three-dimensional game maintaining the distillation of the line creating a multiplicity of echoes. I like the balance between the historical and the autobiographical, between amorphous terror and pantographic security. It was a piece that grew and developed at a difficult time in my life and I embraced it like a lifejacket. It is currently distributed in different places and I think it is impossible to reconstruct it. It had or has many titles: A.F.A., AthensFreiburgAxis, Prince’s Mirror in Rosario Style (Espejo de Príncipe en el Estilo Rosarino), etc.
2. In general terms, how would you suggest to approach your work?
Can one, being the “artist”, really suggest a way of reading one’s work? Does not each happily resolved piece transform over time into the very instruction manual, once the last curator whom we wanted to suck up to has kicked the bucket? All the same, I can think of a phrase that could be of some help to those who face a painting of mine for the first time, and that phrase says: “Humanity is condemned and about to disappear. Perhaps something of Argentina will survive”.
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 have a hard time recognising myself in only one tradition after so many years of pecking at different styles. Does cromophobia with a lot of agoraphobia make a summer? Sometimes I think that my tradition is a tradition of escapism, and to name everything from which one escapes would be draining.
Contemporary referents: from the visual artists that make up the koiné of Contemporary Art it occurs to me to cite William Kentridge, Matt Mullican, Manuel Ocampo, Matthew Barney, Luc Tuymans. Of the Argentineans Armando Rearte. From comic books apart from the unavoidable figureheads I cite Ricardo Villagrán and Alberto Contreras.
Previous generations, one feels one rests on Pisanello, Baldung, Cándido López, some Xul and Medrano’s Graphodramas.
From subsequent generations I like Nahuel Vecino and Max Gómez Canle.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Significant artworks. After mulling it over I cannot bring to my mind the masterpiece of the 1990s. What I can say is that Gordín is the one who came closest.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
That question goes somewhat beyond me. As an “artist in functions” one is busy with one’s own survival and with the transmission of one’s discourse, without meditating so much on foreign political movements. Roughly speaking, the 1990s react against the 1980s cooling and polishing objects but with the change of century they attempt to react against the object even though the fancy solution (dematerialising digitally) is prohibitive due to costs ... (with a little effort one can set up something like a shorthand list of styles ... but who do these generalisations serve?). On the more immediate present; I leave the country with De la Rúa agonizing, I miss all the pot-and-pan-banging and important episodes of the following centrifugal after-effects, due to which my opinion about the more current movements may not be so enlightening. I still like what I see, though. The artists are looking for a more direct interaction with “what is happening on the streets”. There is greater flexibility and possibilities of articulation, one is not as enslaved to the “production of products”. The most immediate and mediate Argentine reality is once again a worthy subject to consider, postcards are once again postcards. One can take off one’s hat before the argentine ingenuity but this planet does not only depend on ingenuity.