- Laura Códega
- Martín Di Paola
- Bruno Gruppalli
- Itamar Hartavi
- Gimena Macri
- Nicolás Mastracchio
- Ramiro Oller
- Juan Ignacio Reos
- Federico Villarino
- Guido Yannitto
- Rosario Zorraquín
- Eduardo Navarro
I was born in 1985 in Buenos Aires.
In 2008 I graduated from the career of Visual Arts in the National University Art Institute (Buenos Aires). There I had teachers such as Carlos Bissolino, Martín DiPaola and Pablo Siquier, among others.
In 2012 I was selected to participate on the Program of artists at University Torcuato DiTella.
I attended art workshops coordinated by Fabián Burgos (2006/2007)and Carlos Huffmann (2009) . I also did various seminars in Art History, Film Analysis and Audiovisual Realization.
I participated in various collective exhibitions in galleries museums and cultural centers in Buenos Aires, Bogotá (Colombia), Miami, New York, among other cities.
Individual shows: The guide for the perplexed (2013, Inmigrante Gallery, Bs.As.), The adventure of Mankind (2010, Jardín Oculto Gallery, Bs.As. ), That´s life (2009, Sapo Galley, Bs.As.)
I was selected for the 2007 edition of Curriculum Zero in Ruth Benzacar Gallery and for three editions of the Proyecto A awards for young artist (2006, 2007 and 2011).
In 2006 I was given the Youth Line grant by the Buenos Aires Cultural Fund, in 2008 the art grant of the Metropolitan Culture Fund of Buenos Aires and in 2012 a scholarship trough the patronage of the Minister of Culture.
You shall carry the weight (2018)
"Tu dois porter le poids" is a project of a tea ceremony in which a family of three generations (grandfather, father and son) is invited to perform a ritual. The members of the family tries to comunicate playing a large wind instrument in unison, so that the breath is transmitted from one to the other; the instrument is tuned in a way that goes from the bass to higher sounds, following the staggered steps of the dynasty. The work also operates as a social experiment in which the family cooperates, negotiates and struggle to communicate through abstract sounds to create their own idiom outside articulated language. In this way, genealogies, oral transmission of knowledge, family ties, commandments and cultural heritage overlaps on a device that interweaves matter and history.
The speaker´s corner (2018)
Una plataforma de madera con un púlpito y un micrófono abierto conectado a un altoparlante. Un personaje disfrazado de oreja pregonando con un megáfono invita a manifestar libremente las ideas; A partir de la superposición de proclamas políticas, sermones religiosos, un show de stand up y cualquier participación anónima, "El rincón de los parlantes" propone un desbarajuste de las jerarquías del discurso, una economía de las igualdades; De esta forma, la obra apunta a subvertir e igualar las categorías del habla como una forma utópica y potencialmente fallida de homogenizar y aplanar los discursos con espíritu igualador, una manera un poco anárquica, burlona y lúdica de practicar la política en su grado cero. Como en la torre de Babel, la pluralidad está abierta al desentendimiento, el cortocircuito, la interferencia, el ruido blanco.
"El rincón de los parlantes" puede entenderse como una plataforma artística y social destinada a dar voz a todos aquellos que estén interesados en usar el micrófono abierto como un dispositivo para manifestar, informar, enseñar o simplemente escuchar al otro. Proposición basada en la horizontalización de discursos en espacios culturales y públicos, pero también en el malentendido, la contradicción, la sobresaturación ¿qué sucede cuando discursos de cualquier índole se aplanan, se igualan? ¿qué significa democratizar el discurso? "El rincón de los parlantes" nos pregunta: ¿Qué implica tener la palabra? ¿Por quiénes somos hablados cuando hablamos? ¿Qué es la opinión? ¿qué es el público?.
Actividades/lecturas para la que fue empleada la plataforma: Ensayos de teatro, de canto lírico, lecturas de poesía, batallas de MC´s (raperos), debates políticos, reuniones sindicales, foro abierto para discusiones de temáticas sociales, oradores motivacionales, sermones religiosos, conferencias, congresos, coloquios, karaoke, anuncios de cumpleaños/bodas de personal del museo, traducción de textos a lengua de señas, anuncios institucionales, actividades para visitas guiadas de escuelas, lecturas de manifiestos.
Relation of dependence (2017)
Relation of dependence is an installation and a performative work that approaches the idea of creative act as a collaborative practice. The piece consists of a sculptural device that is activated due to the driving force of two participants; a fixed bicycle, connected by a system of pulleys to a potter's wheel. Thanks to the cyclist-driven movement, the wheel turns and allows the potter to model the clay. In the process both participants negotiate, discuss, interrupt, draw questions about communication as a bridge between individuals, the nature of artistic praxis and creation not as a spontaneous act, but as a transactional exercise between interlocutors. As the action is repeated in different days, the work leaves as a result a cluster of vessels; thus, the performance equates the perspiration of the cyclist and the accumulation of clay pots as residual remnants of the interaction and the frictions of a dialogue.
The piece also operates in the manner of a social experiment in which various interpersonal relationships (between work partners, parents and children, sentimental partners, friends) assume the roles of cyclist and potter to implement exchanges, hierarchies, transfers and flows that are manifested in relational bonds.
Ceramist: Cecilia Ojeda
Mise-en-scène: David Nahón
Realization: TaMaCo-CHELA, Pedalúdico.
Family Tree (2016)
Instalation: Chains, ropes, strings of different thicknesses, spheres of diverse materials. 330 x 440x 30 cm. Centro Cultural Recoleta, 2016.
A perimeter formed by chains, ropes and strings connects spheres of different materials (cement, leather, bread, wax, bronze, iron, marble, wood, steel, clay). Ordered from biggest to smallest, the traced outline resembles a prototypical house plan with three rooms or a family tree diagram fading out.
The voice from within (2016)
The inner voice is a sculpture that invites to communicate with the ancestors by domestic media; a head shower officiates as microphone, the voice travels through a pipeline that crosses inherited vases of various materials to be amplified by a phonograph horn.
Genealogies, the oral transmission of knowledge, family ties, cultural heritage, objects that are passed from generation to generation and the view of the ancestors focuses on a device that intertwines matter and History.
The soft forces (2015)
When the user steps on the pedal, it activates the bellows which blows air and makes the earth globe slowly spin.
Desk earth globe, bellows, bass drum pedal, hose, wood, carpet 200 x 70 x 130 cm.
Nora Fisch Gallery, 2015.
The guide for the perplexed (2014)
Instalation: Found objects, wood, bricks. 1000 x 800 x 450 cm.
Soberanía del uso - apropiaciones de lo cotidiano en la escena contemporánea", OSDE Foundation
PH: Ivo Aichenbaum
The cloud of witnesses (2015)
Instalation: Found objects, wood, bricks. 1000 x 800 x 450 cm.
Curators: Federico Baeza & Sebastián Vidal Mackinson.
Museum of Modern Art, Cuenca, Ecuador.
The Speaker´s corner (2014)
"O canto dos alto-falantes" can be understood as an artistic and social platform aimed at giving voice to all those who are interested in using the open microphone as a device for manifesting, informing, teaching, or simply listening to the other.
Religious preaching, a studio of oratory, biographical narrations, demarcation, a reading of texts of the historical vanguards, collaborations of artists, announcements of lost and found items, experimental speeches, and many other forms of utterances are what can be found on these four triangular wooden platforms, each connected to a loudspeaker. This proposition is founded on the horizontalization of discourses in cultural and public spaces. All of these sorts of involvement do not play the same role in discursive practice: they do not imply the truth or idealness of the discourse, but are rather a device in which people from different horizons can cross discourses, which are contrastive or blinding in regard to each other.
Andrés Aizicovich asks us: Who speaks? What to say? How to speak in public? What is the public? These modes of utterance are also manifestations of scattering in the intents of the speech and of the status quo of the artist, since O Canto dos Alto-Falantes will resonate from different positions that one can occupy or receive when the discourse is determined by the scattering of the subject and by one’s discontinuity in relation to oneself.
El Flasherito Art Newspaper (2013-17)
Edition of an art critic and experimental writing newspaper, printed monthly with a circulation of 1000 copies.
12 issues released between Oct 2013 and Sept 2017.
In collaboration with Leopoldo Estol and Liv Schulman.
Leopoldo Estol and Liv Schulman
The speaker´s corner (2013)
Sculpture and reading performance.
With Liv Schulman, Leopoldo Estol, Pablo Rosales, Patricio Gil Flood.
in Sebastián Bruno´s exhition "S/T".
Foster Catena Gallery.
Psalm 90 (2012)
Persian rug and surface of ashes of the same dimensions, two paintings of 150 x 300 cm. each.
Installation in Universidad Ditella
It´s going to shine on the golden child (2012)
Last satement of sentenced to death Michael James Perry over Kasemir Malevich´s "Black Square".