Born in Buenos Aires, Argentina in 1977. His work moves between the
languages of painting, video and installation.
Training (Selection): Professor of Painting graduate of ENBAPP.
He participated in the first youth clinics painters National Museum
Fine Arts and Intercampos III programs and Lipac Fundacion Telefonica in
the Red. In 2010 received a scholarship to the creation of the National Endowment for the
Among the samples you have posted individual highlights: Museum of Modern Art in Buenos Aires, Klemm Foundation, Contemporary Art Gallery 713, Gallery Sicart and Alliance Francaise de Buenos Aires and collective MAMBA, Klemm Foundation, Fundacion Proa, General Cultural Centre San Martin, Ruth Benzacar, Fundación Telefónica, Osde Foundation, Recoleta Cultural Center, Casa 13, Wussman Gallery, DC Borges, MACBA, Project A, Malba among others.
Awards (Selection) 2011 - Grand Prix of Honor 100 ° - New Media & Facilities - 2009 LXIII Rosario National Hall - Second Prize / Best Performer 2007 AACA video / 2008 XII Klemm Award - Second Prize - Prize Painting Holz - third prize / 2007 - Biennial of Young Art Wusman - First Prize / 2006 - Honorable Mention Award Jury Mention MAMBA Telefónica Foundation Painting Prize Jury Banco Provincia.
His work has been exhibited in Brazil, Chile, Spain, Bolivia, United States, Mexico, France and Russia.
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'll choose one of the series I'm currently working on. It consists of a group of small-format oil works on wallpaper remnants, an element that I consider as being in direct relation with the Once neighbourhood and with this time of waste and cardboards. Done in a figurative style, the theme of these works could be included within the urban landscape genre, from public to private and multiculturality as a constituent element. The creative process involves a hidden camera system to take pictures, then a computer-related task, and ending up producing a painting onto the paper. The image is thus constructed as if by means of a satellite, making a huge zoom-in at such a neighbourhood, whereas the lens focuses on different details, at a first phase, chinese supermarkets. In the same way, a mounting system of the paintings is being built, prioritizing the dialogue generated by the whole rather than the piece itself.
2. In general terms, how would you suggest to approach your work?
Sometimes, I like to think myself as some king of film director, for which I consider important to read my works as if they were films. Following this idea, a quick review at my artistic production would involve an intimate type of film, with a swimsuit as the leading character, a psychological horror film with the 'Accident' series, and the one I'm working on right now, an urban movie with chinese supermarkets and gorgeous Asian actresses.
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?
Beyond working using different techniques, I always think in terms of painting, for which all my productions have to be thought of as if starting from this tradition. My current references go from artists like Pierrick Sorin, Wilhelm Sasnal, Dexter Dalwood, Eberhard Havekost, Michael Raedecker, Takashi Murakami, Hayao Miyazaki, Peter Greenaway, to Japanese horror films, TV, internet, anime, different kinds of software, etc. Of all the wide variety of artists from older generations that are still an influence to my work, I'll just mention Andy Warhol, Picasso, Théodore Géricault and Cándido López.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I'll do a brief review of the exhibitions that've interested me the most for the last 5 years, taking into consideration a wide criterion that involves parameters such as perseverance, work, originality and versatility: "La Re-colleccion" (The Re-Collection" (MALBA, Eloisa Cartonera, ArteBA, 2004), Pablo Siquier - Benzacar - 2003, the different editions of "Natural Artificial" (La Casona de los Olivera), Guillermo Kuitca - Malba, Margarita Paksa - Benzacar (1999), Estudio Abierto Abasto 2002/3/4, Guillermo Iuso - Braga Menéndez (2001), Egotrip - Appetite (2005).
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
It's obvious to highlight a strong tendency, at least during the last 10 years, in terms of a larger acceptance and recognition towards young artists, a fact that goes together with a significant increase in the amount of people that decide to dedicate themselves to artistic activities from an early age. In the same way, immerse as we are in a period in which technology and global communications have come to such high degrees of development, and when we can talk more about global tendencies and grouping than regional or national characteristics, it's important to highlight a tendency that's been going on in our country for the last -at least- 5 years that's diametrically opposite to previous ones, consisting of a radical renovation and change of attitude in relation to the development of artistic practices, both discursively and materially.