Biography
Born in Tucumán in 1976. Lives and works in Buenos Aires.
Studied in the Atilio Terragni School of Fine Arts, subsidiary of the University of Tucumán. Part of his education took place in London, where he attended courses at the I.C.A. (Institute of Contemporary Art) in 2002, Central Saint Martin’s College of Art and Design in 2004, Camberwell Collage in 2004 and at the TATE Modern, in 2003.
He was awarded the Scholarship for Analysis and Production of artistic works from the Antorchas foundation in 2002. Conducted an Art Workshop organized by the Rojas Cultural Center in Salta, directed by Diana Aisenberg and Jorge Gumier Maier, in 2005.
Participated of the Open Study Contemporary Art Festival, BA 2006.
Was selected for the Salta-Mendoza interfaces, organized by the National Endowment for the Arts and the National Audiovisuals Office, in 2006. Participated of events such as arteBA’07, Chandon Cultural 2005/06/07, Periférica Arte de Base 2006, Pa(i)sajes 2007/08.
Was invited to RIAA (International Residence for Artists in Argentina) 2008
Made shows in Argentina, Paraguay, England and Switzerland
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.
Betül.
I developed this project from a passport photo which the model (Betül Ysik, a Turkish citizen residing in Ankara) gave me as a present. The work consisted of the fixation and later photographic registry of her image in public places, as a way to allow that absence to exist in a space and time from which, because of her religious beliefs, she is barred.
The photographs make a record of the spaces where this image was transferred, projected and pasted in different dimensions.
The project followed the same conceptual guideline, the archive was of a collective nature and acquired different formats. We are currently working with the gathered material. Betül made an appearance in Open Study 2006 and in the Interfaces project that was organized by the National Endowment for the Arts and the National Audiovisuals Office in Salta, Buenos Aires and Mendoza.
2. In general terms, how would you suggest to approach your work?
I believe that there are many ways to approach my work. I could not speak along general lines since the possibilities for a reading are so many. That is why I let every visitor to make of this material whatever he pleases.
In this manner I obtain derelict works as a result, intervened when they do not have to be, and all that is brought about by randomness.
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 work with landscape, space and time, trying to answer the constant question which can summarize my work: ¿What can one do to prolonge the moment to the maximum? It is impossible not to remember the impressionists, they were bonkers, I love them. My contemporary referents are many , but I believe that the permanent ones in these past years have been David Hockney, Tony Oursler, Tracey Emin, Antony Gormley, Craing Martín, William Scott, Mona Hatoum, Yoshitomo Nara, Gabriel Orozco, Jorge Macchi, Guillermo Kuitca, Pombo...
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
In these past few years I have travelled across (central and northern) Argentina. I could name some of the shows where I felt a true break in time and space. They simply invited to contemplation. Upon revisiting, I enjoyed its craftsmanship, staging and illumination.
Fireworks (Fuegos de artificio) by Jorge Macchi in Ruth Benzacar 2002, the Colossus (el Coloso) by Hernán Marina in MALBA, the ceramics of Leo Battistelli in Zavaleta Lab at the Arroyo space, Andrea Moccio’s installation in Open Study (Estudio Abierto), Estanislao Florido’s war videos, amongst others.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
It would be daring of me to write about it. I remember the feeling I had when I lived between England and Argentina. The scenario could be seen in a different light, or at least in the old continent there are such a thing as repetitive tendencies or fashion styles which set a clear difference between countries in the European Union and their international surroundings. But when I came to Buenos Aires I would see the “trash” and good “copies” everywhere. It is a constant in this part of the world, and it seems…attractive, I must confess. The curious thing is that today, when I am living in Buenos Aires, that stereotyped chaos is still being cited. I don’t know, sincerely I believe that it would not be bad to go back to the trades and, while we are at it, assume this fun and fascinating “early nothing” that is going on in the whole world.
