Biography
Born in Buenos Aires, 1963. Works on different disciplines: video, painting, performance, photography, objects and installations. During 2004 and 2005 directs the art magazine Canecalon. Since 2005 directs the project “The gemstones” where integrates architecture by building murals, site specific and some other projects commissioned by art collectors, architects and industrial designers. Most of her works are made in Venetian mosaic, material that she uses since 1999.
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.
work: The kiss, “ in a cold forest of Poland an encounter takes place. A loving encounter. A strange triangle that ends ups in tragedy. The snow covers it all in a frozen charm…lovers blend with blue like the forest…” . The Kiss was shown at the Goethe Institute as part of the Creation Fellowship of the Antorchas Foundation 2003, coordinated by Jorge Macchi, Eduardo Rudnitzky and Rubén Szuchmacher.. Without previously working in theatre, I tried to compose a play from a visual point of view, maximizing its elements to the point of illusion. I allowed myself to work with all the different materials and techniques I knew, such painting, electronic music, artificial snow and the performance. The subject is related to my family’s history in central Europe, the way my grandparents met in Poland. The production was made by artists from very different art fields, it was my first experience developing a team work, and it worked very well. I continued to develop the work in other formats such as video and photography.
2. In general terms, how would you suggest to approach your work?
My work has had different timings and interpretation. All my painting period could relate to a more playful spirit linked to the action of collecting and the game itself. From the time I started investigating with little glace tiles my work turned into a more formal image in terms of the concept, even though it hasn’t lost its playfulness. My work with glace tiles is mostly linked to the tradition of the countryside with influence of the XIX century literature of the River of La Plata especially in what refers to its poetry. From my experimentations in performance and interventions I started investigating on staging, A more theatrical vision
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 could say that I subscribe to the installations and interventions of the artists from the 60’s. Contemporary references are Sebastián Gordín, Román Vitali, Nazareth Pacheco, Cristina Schiavi. From previous generations I would note Marina Abramovic, Tunga, Las Yeguas del Apocalipsis, Louise Bourgeois, Pablo Suárez, Claes Oldemburg, David Lamelas, Elio Oiticica and of course Martha Minujín. I found the work of the collective group from Buenos Aires Suscripción very much interesting. I would also include the great artists, singers and performers María Callas, Monserrat Caballé and Böjrk. I also read erotic and porno publication, the influence my work.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The Marta Minujin retrospective at the Bellas Artes. Le Parc exhibition in Buenos Aires. Victor Grippo at the MALBA and the Margarita Paksa exhibition in Recoleta. Some works: “The lockment” of Graciela Carnevale made in Rosario in 1963, where the audience was locked inside the gallery on the opening day of the showing. The work was made on the framework of the Experimental Art Series; they finally had to go out by breaking up the stained glass.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think they could be grouped by disciplines. There are very good video makers, performers and there have emerged a great group of young painters with influences of great masters, also thanks to the diffusion and good exhibitions promoted in the last years by the MALBA and some other private galleries.
