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.
“Monument to television” [“Monumento a la televisión”] is a work that faithfully represents the spirit that surrounds the set of pieces created by me.
The materials are simple. It consists of a 14" white TV placed on a pedestal and installed in front of a coach of the same color.
It’s a work that invites the viewer to enjoy the very nothing, to think a bit and to laugh at themselves.
When designing a piece, I synthesize complex systems of relations to show how ironic and reflective their operational mechanisms are. After analyzing these mechanisms it is possible to enable the viewer's ability to play by seeding questions, doubts or irony about different aspects of reality.
In my case, the aesthetic appreciation has a strong relationship to the ludic and conceptual attributes of my works.
Thus the pair advertising/ art gains a new meaning, as well as the relation between art and spectator, and also the way media and language influence people. With regard to the art itself I aim at reflecting events or at using sensitive or sublime manifestations related to the everyday own existence.
“Monument to television”
According to certain parameters, monuments are associated with immense quantities or special features. The title allows us to deduce the ironic meaning that surrounds this piece of small and simple attributes. Thus it can be said that a displacement takes place in the figurative sense of the word, because they usually represent historical, human figures or heroes which are characterized with special or transcendent features, whereas in this case the word ‘monumental’ is attached to an object of daily use as the TV, in order to show the high symbolic value granted by a society that feels pleasant sitting in front of it every day to zap and celebrate a cult of consumption, banality and violence.
This work proposes a reflection on how the accumulation and saturation of images lead to nothing, causing a gap in communication and human relations, which is expressed through the insensibility of our senses as spectators until it gets to indifference and exhaustion of sight. That’s why the white emerges as a symbol, opposed to media pollution or as a reflection of the empty television content.
This object, beyond its formal aesthetic, proposes a critical eye on reality and on the way we perceive it.
2. In general terms, how would you suggest to approach your work?
a lot of attitude 3 + a bit of thought 2 + an ironic touch <=> aesthetic enjoyment + reflection 2 + deep inspiration 3.
Perfect equilibrium at room temperature.
You can add some wine and pleasant company to accelerate the reaction.
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 recognize myself as a conceptual pop artist.
My contemporaries are related between each other: Rirkrit Tiravanija, Regina Galindo, León Ferrari, Marcos López, Claudia Gómez Vázquez, Alfredo Jaar, Diego Figueroa, Jorge Tirner, Leo Ramos, Flavia Da Rin, Diana Aisenberg, Rolo Juárez, Sandro Pereira, Rosalba Mirabella, Claudia del Río, Pablo Guiot, RES, Mondongo Group Debris, Leo Estol, Javier Juárez, Liliana Porter, Dani Umpi, Pequeño Bambi, Belén Aguirre, Benito Laren, Belleza & Felicidad, Gabriel Chaila.
I appreciate the work of Sara Facio, Fluxus, Antonio Berni, Tito Quiroga, Blanca Machuca, Marta Minujín, León Ferrari, Andy Warhol, Roy Lichtenstein, Robert Indiana, Piero Manzoni, Jeff Koons.
I like the proposals of Viva Laura Pérez, Qoqi Méndez, Koty González, Maxi Farber, Lorena Kaethner, Elena Ferro, Sonia Ruiz, Paula Scarso, Valentina Díaz, Martin Guiot, Luciana Guiot, Carolina Pereira, Daniel Elías, Leo González, Lucrecia Lionti and Rodrigo Amarillo.
I also like certain works by other artists.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
“The Monument to the breaded steak sandwich” [“El Monumento al sándwich de milanesa”] (2000) by Sandro Pereira, installed in the 9 de Julio Park in Tucumán Province; Lots of karakatanga in the cocktail shaker [Mucha karakatanga en la coctelera] (1996) by Rodolfo Bulacio in La Zona space; the performances by Tenor Grasso, Flora y Fauna, or the incredible sets of Qoqi Méndez in Euzkadi Space and Euzkal Experience were great.
The different editions of the emerging Garden Flowers [Flores de jardín] curated by Jorge Figueroa in Virla CC (2006) and Timoteo Navarro (2004) or the exquisite and extravagantly essential Invisible registrations [Inscripciones invisibles] (2007) curated by Carlota Beltrame who motivated the necessary debate about censorship before and after the last dictatorship.
Love Karaoke [El karaoke del amor] (2007/2008) by Maxi Farber consolidated as an experimental experience only for brave people. Dinner with Marlok [La cena con Marlok] (2007) by Lorraine Kaethner in Lucci Foundation was a glamorous moment only perceived through the glass. The Art Fair [La kermés del arte] (2001/2002/2003/2006) and the recent Collective Birthday [Cumpleaños colectivo] (2008) by Rolo Juárez are art projects that generated sympathy and allowed the artists to bring art to the public with an irresistible ludic strategy. Nilda’s Garden [TN: originally in English] by Belén Aguirre in La Punta (2007) was a magical moment close to the sublime. Performing for a Dream [Performeando por un sueño] (2007) by the group ((atm)) is undoubtedly one of those exhibitions that generate new approaches, exchanges and refunds worth to remember with more than a smile.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I see several trends in contemporary art. One of them is the colorful and refurbished pop with touches of kitsch, super cute and minimalist. Another one is the conceptual speech focused on minimal and powerful actions, of ironic and austere characteristics.
And, of course, the performance, ephemeral, recorded in photos, videos, sounds... (which are not so ephemeral), made to generate thoughts, reactions, reflections, and smiles.
Everything apart from all those collective exhibitions carried out in houses of friends, arranged for the occasion, or alternative art spaces, and then exposed again in Fotolog, Flickr, Blogger or Youtube.