When I was child my mother and my grandmother teach me to play the piano, to draw, paint, embroidery and sewing, classic dance ans Spanish dance, French, and I loved to go to the storytelling workshop which published my poems in the journal paper Bubbles. I had a musician grandfather and an other one veterinary.
I came to Cordoba to study Laws but after three years I decided it was better to study Arts. I've done the Painting Bachelor in the Cordoba National University. Because of my good average I get scholarships from the Nation Educational Ministry Department and the FAPA (Argentinian Piedmont Federal Association)
In this University times I created with some friends the 00 group. From the exhibitions we've done, the ones in Sonoridad Amarilla in Buenos Aires and BOOM in th CCEC were the best experiences because the most important was the effervescent creation meeting.
My first individual exhibition was “Mon_miel” in 2001, a ventilation ducts with lights and photographies installation, transparencies projection, electro acoustic music that I've produced with Raúl Lafuret and spirits of my authorship. One of this pieces is now part of the Cordoba State collection. Others important individuals: “Le desir dans la peau”, paintings, in France; “My warm dreams to calm your fragile garments of royalty”, where I worked with wastewater from a greenhouse, in the Orange Hall on Valencia (2007); “Honey whispers”, in the MARTE, El Salvador; “limen and diamonds. Artifice x nature” in centerspace Gallery, Córdoba (2006); “Vitalis”, a little analysis glasses installation with drawings done with familiar hairs and transparent nail painting hung by hairs tied to pins stuck to the wall, and objects that I've done with bent hungers lined with festive fabrics found in the garbage belonging to La Mona Gimenez and cancans. This objects were floating in the Juana de Arco Hall, Buenos Aires (2002).
Every time a publication of my work were in a newspaper my dad loved to go out with the it under his arm to show it to all San Francisco.
I assisted to Claudia Gianetti and Michel Wessely seminars. I got a scholarship for the International landscape workshop with Enrique Marty in Spain and one for a course with Joan Fontcuberta given by the Spain Cordoba Cultural Center.
In 2003 and 2004 I helped in Gabriel Gutnisky and Patricia Avila's professorship in the UNC.
Since 2003 and for 4 years I developed an experimentation workshop (in the Municipal House Cultural Center and in centerspace Gallery) which I called “the lab”. Now I'm giving it eventually in homes.
In 2006 I won the first Price in the XXVIII Cordoba City Salon. I've been also selected in the El Salvador Art Museum contest and in th IV Waste Art Biennial (Spain 2005) . I've participated in: Videotage, Hong Kong, I End of the World Biennial, Ushuaia, Lte's Dance, Videoplay, Germany, Alter Art Festival (Spain).
In my work is frequently the mixture of different art disciplines, botanic, confection and gastronomy. For some time I'm using video as support for working, with different softwares, pictorial works and musicals where I capture different actions that I realize in my environment.
In 2007 I've participated in the conference developed in the Institut de Recherche sur l'Enseignement des Mathématiques (IREM of Paris VII) where Joachim Dupuis and Philippe Roy have presented their thesis in philosophy about Murmure de peau (cancan project that I develop and transform since 2003). In 2008 I've been in the artists residency in the Arts City, Superior Art School “Dr J.F.Alcorta”. Today I'm realizing crops to hang clothes on the terrace of my building in the center of Cordoba, while investigating on edible weeds, cinema and elixirs of life.
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.
I choose Cancan project because of it complexity and constant evolution, for being crossed by different concepts, because I get to talk with other realities.
Cancan Project a happening produced in an specific way in a green urban space. Its a pictorial and philosophic intervention with persons involved in it, is a dance that recycles a petroleum derived weaving it to nature where it takes organics forms, is the proposal of being happy with simplicity and daily, is the residue of this actions which will can meet again in the memory of a film.
The project consists in some basic elements that are reconstructed in various ways with new ingredients according to the space where are unfold, being this way, each presentation, a different and unrepeatable piece.
The cancan (leotards, tights, pantyhose, collants) are petroleum products which gives to legs a glaze aesthetic. Its a device integrated into everyday life in a natural way, a strategy of female seduction.
The cancan is essentially dichotomous. Its a fabric that touches the most intimate part of women, at the same time presents her image in society. It can warms the body and conceal the skin while pressing the flesh.
I started Cancan Project in a specific city with an open call where I invite people to participate in a barter. Worn cancans are recollected for joining a plot basis and form a large tissue which will integrate nature. This plot basis is product of previous experiences that includes the private collection of my mother who kept them from the '70. I also did the same, as every woman in my family.
First I used them for paintings: I stretched them over the hollows boxes and added layers of lycra+layers of paint, this around 1998/99. I also used this material for making slides with fluids that I projected while performing on the outbreak according to the random shapes and music. Then I realized objects where the cancan was tensed by wire hangers covered with clothes. This objects where installed in a space, the light projected its forms that were changed with it own movement. The multi filament cancan captivated me by their sound quality, I recorded and worked it electro acoustically. The paint inhabited by all the senses. I started by to the walls, to expanded it all over the room to create glazes passable. This labyrinth was multiplied in the play of lights and a honey aroma was impregnating every thread.
So far this cancans were familiar. For the work that was schedule for the CCEC's patio I started to send emails and papers to my friends, and friends of friends: “ I buy your worn cancan nail painting as payment”.
The response was immediate and the girls began arriving with bags full of cancans saying_I keep these since I'm fifteen_I washed them before bringing them_my daughter would love to have her nails done by you. Lauri gave them to me in a bag with a bow. Another girl went to her neighbors and brought me a large bag with cancans of a neighborhood . The instance of barter became fun and suitable for dialog. In El Salvador, I spent a week painting nails morning and afternoon in a table with a jug with water and multicolored bottles. Women not only came for a nail painting. The vast majority was encouraged not only to a bright or red. After talking a while they let me apply the chromatic variety that interested me and it was different for each person. Women left me their private cinnamon color and one woman gave me more than 30 cancans with one leg cut. We talked about life, what they do, what they liked, what they eat, that they used lightning facial creams, we talked about the city, about my city, they asked about tango, I talked them about quartet, they told me about their jobs where they were required to wear natural color pantyhose and that many woman had fungal infection by moisture retained in the lycra, some of them recycled the pantyhose for making feather dusters which they gave to me and others used them to grow orchids. In the mornings the hotel maid used to see me breaking the cancans while she was bringing some juicy mango. She wanted the cancans that were not so broken, she liked to wear them even she suffers the heat.
The next week I knitted the MARTE's inner garden. There were some teachers attending to seminars in the museum, and when they saw me breaking the cancans, they approached and asked if they could help me. At times it were like 20 women destroying pantyhose with laughter, concentration and something else that I still think what was it. A 19 years old girl came every day and sat in silence to break cancans.
In Ushuaia I painted nails dressed with a white teddy cone in a cottage on the forest and on a bench between beech. Azul, two years old for the first time in her life had her little nails painted, and also the grandmother Cristina, the last one, who took me her cancans. The dialog was enough only with her eyes. Yatana means “to weave” in Yagá Tierra del Fuego's aborigines language. Every day during two weeks I climbed to get into the forest time, while disappearing from the end of the world city.
In Murcia I had a table in a Floridablanca garden path. A retiree approaches me and says it is discrimination to men, I explain to him that anyone can wear nail polish, he feels offended and says that no, only women can do it, or queers, but that wasn't right. I ask him why? He told me that I was crazy and that what I was doing (pointing the hooked cancans) was for a shrink, I ask him why? A riot of words in ascending volume was still his answer: crazy. Someone who was walking there told him to be careful because he was being filmed for television, then the retiree said to retract everything he said and waved to camera.
A fat boy approaches me and asks if he could get his nails painted, I said he had to pay me with worn pantyhose, and he said he always found these in containers he checked, he told to bring them later for me. He explained to me that he was very macho but he liked painted nails and asked me for painting his nails with drawings with a lot of colors. Then he told that his girlfriend left him for another man but he was going to wait till that other man dies. It's impossible to forget those nails.
At the same time every day, a man sat in the same bench in front of the web and smoked his pipe. I was wearing a pink dance mesh and watch every single move. When people came to ask me what I was doing I invited them to join me. At one point there was a man in a suit and tie, a 5 years old girl, a couple of boyfriends and more breaking and tying cancans, without knowing each other and without speaking more than with their bodies and tension that lycra allows. The cancan stops being a fetish for being a collective, flexible, binder, recyclable and evolutionary architexture form. Then I unistall everything and travel with the base frame to the next city to dialog. The net mutates into a body with multiple and heterogeneous molecular memory attached to it subject.
This year I design the project to be realized in Cordoba. I invited 10 artist to paint fingernails drawn over the arches of the Cabildo and to weave cancans during one week in San Martin Park.
I formed a group of people from film , theater, painting, performance and sound specialist technicians who captured the voices of each table. Cancan Cordoba Group was integrated by: Soledad Sánchez, Ivana Altamirano, Yamila Cardoso, Nancy Palermo, Lety Ollier, Paula Lussi, Ana Volonté, Alejandra Velasco, Pilar Velasco, Ma Ion-chi, Julia Tamagnini, Carmen Cachín, Gina, Laura Colombo. Leni, Federico Romano, Yamila Maionchi, Alejandro Mandolini, Res, Susana Pérez. Eduardo Manrique, Andrés López, Germán Díaz, Nicolás, Cristian, Inés Moyano and Rosendo Ruiz. It was good to modified the routine of Cordoba. Each person who participated has been portrayed. In all those pictures you can see a variety of features far from the woman sold in the kiosk. Still working in the footage captured, in the dialogs, natives tones, neglected elements and residuals gestures of this society.
2. In general terms, how would you suggest to approach your work?
The firsts readings of my work were from Ileana Contreras (dancer) with Muscará (judge) in a conference where they observed the body language of people in relation to the installation presented, also linking with Art, Mythology and Law. The readings realized by Philippe Roy and Joaquim Dupuis in philosophical texts provoke in me questions that stimulates the development of an art work. Observe the scene unfolded that is no fiction as a painting weaved in urbanity also could be interesting. An analysis from psychology, sociology, anthropology, for example, could contribute to a new more specific comprehension about some everyday behavior captured in this cancan project. Children have always been more enthusiastic. I could suggest then to be sensitive as them and activate a critic emotional thought from that point. Inhabiting the plot and enjoy the colors with the joy and purity of a child would be a good way of inhabiting the world and a beautiful reading.