- Leticia El Halli Obeid
- Alejandro Fangi
- Mónica Girón
- Uschi Gröppel
- Cristina Schiavi
- Paola Sferco
- Sofía García Vieyra
- Pablo Género
- Erica Naito
- Karina Scala
- Tamara Stuby
- Esteban Álvarez
I was born in the city of Córdoba, in 1973, I´ve lived there ever since. Before entering the UNT´s Arts School I took a degree course in Graphic Design, that ended up being, many times, a sort of working life jacket. In 1999 I took part of a seminar called “Cielo teórico” (given and organized by a group of artist from Córdoba: Cagnolo, Ruiz, Pizarro). I come to think of them now as strong references of my first art work, “Juuuh fooo” (2000). In 2002 I attended Mónica Girón´s atélier in Buenos Aires, thanks to the scholarship for province artists that was awarded by the Fondo Nacional de las Artes (FNA), and paralelly participated of the art clinics organized by the Fundación Antorchas in Córdoba. “Dame fuego” (Gimme light) was the first collective exhibition that worked as a closing ceremony for these clinics, by the end of 2003.
Partly because of the country’s economic crisis and my subsequent unemployment, between 2003 and 2005 I devoted myself to the activities of destruction and reconstructuction. I did a series of performances in which I broke dishes, crockery objects, and later on paciently reconstructed them. On the other hand, I daily recorded tapes of local soap-operas, specially those by Adrián Suar, and then re-edited them with my VHS recorder into absurd sequences.
During the winter of 2006, “Los Basiliscos” invited me to their art residency in Avellaneda, experience that I shared with Aurelio Kopaining, Gabo Camnitzer and Ale Fangi. I decided to work like the bride who brings flowers to the loved house, and daily rustle together a mixture of local herbs and weeds, put them in a vase and copy them on black posterboards. This work I called it “El Jardín de Avellaneda” (Avellaneda’s Garden).
On April 2007 we went to Havana, together with Pablo Rosales, invited by the Batiscafo project, for which we worked for two months along with fellow Cuban artists. It was there that I did a documentary film called “Paraísos” (Paradises), in which I asked the Cubans what was a paradise for them.
My daily life goes by between the Drawing I professorship at the UNC, and Management, at the photography course degree of the Escuela Spilimbergo. I also coordinate and organize the Visual Arts area of the CEPIA (Center for the Production and Research in Art), at the UNC’s Arts School.
one inhabits, the place one would like to live in, whether such a place exists or not, or if it’s linked to a special location. Why Cuba? Because of its natural characteristics, its touristic industry, and specially, its sociopolitic situation.
Editon: Asori Soto
Production: Marialina Rodriguez
Coordination: Dalila López Arbolay
The Avellaneda Garden (2006)
Profiles on black poosterboard, tree branches, lamp with revolving patterns and board easel. El Basilisco, 2006. Group of drawings from wild vegetable species collected in the urban area of Avellaneda, Buenos Aires.
There are no arbors in the field, in the forest or in the jungle: just in parks. These are devices to contemplate a geometrized nature, compressed within the infinite city grid.
What would happen is the bet for artifice is rised and this device is moved to the interior of these urban houses that need the garden so as to lie themselves that they are still within a natural environment?
Text: Carlos Balzi
Wood construction: Francisco Fernandez
Silk paper and threads. In córdoba there is a old tradition in which, for the New Year celebrations, people lift small hot air balloons to say goodbye to the old year and welcome the new year to come, this is often linked to wishes of prosperity and a spirit of renewal. In this work, balloons were released from its traditional function and mounted on space without the necessary device so as to lift in the air.
Catalogations (2002 / 2005)
Not so long time ago it drawn my attention the eagerness that my family put on keep using broken and reconstructed objects. I started a photographic registry of such pieces and wondering about their origin and usage. I propose myself to do a catalogue, imitating the system used in museums, and generating this a document that identifies its own history.
TV collage (2002 / 03)
By taking small fragments of local and latin-american soap-operas, a new story is constructed, using the mediums and technology resources of an average TV viewer, Fragments selected respond to genre stereotypes and emotional representations.