I was born Tuesday 21th, February 1978 in La Plata. I got a Bachelor’s degree in Plastic Arts in the School of Fine Arts of the Universidad de la Plata. I currently live and work in La Plata. In 2004 I started attending the workshops by Diana Aisenberg. In 2006 I was selected to take part in the Visual Arts workshops organized by the CC Rojas/UBA. In automn, 2004, I began doing a series of works in which I investigated the possibilities of recording and documentation. Starting from press images or film stills, I came up with paintings that, when put together, try to constitute a mosaic of testimonies. By studying how news are constructed by the written media I explored the possibility to promote the circulation of a certain information by means of digital fliers or printed leaflets. During the winter of 2006. I started investigating the character of a possible Fan in relation to the construction of local art’s gossip and stories. I worked using the different means and materials a fan would put into play to give some light about his identification, connection and love. Merchandising products such as t-shirts, pins, teacups, ruckscaks, covers, caps. Most of the works of this series were uploaded online in a blog, Alta Fidelidad, where I attempt to build up an archive of emotional memory in relation to Argentine art. In the spring of 2007 I did an exhibition in Belleza y Felicidad, where I showed many of the works from this series.
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 Belleza y Felicidad's rucksack.
I took as a reference different rucksacks with rock band motives, those that usually teenagers would use. Polyester-made one or two-coloured rucksacks, with a pocket and a patterned front. The image on its front is a vinyl pattern with the text "Belleza y Felicidad", and the pocket shows the initials "ByF"
I worked using pens and school markers to superimpose the inscriptions, quotations, desires, devotionals, drawings and graffitis that mention works by Fernanda Laguna and other artists that had exhibited their works in the gallery. Materials and diagramming make reference to the type of resolution we might be able to find in the graffitis and inscriptions on school desks, folders or in the bathrooms of many urban schools. I tried to tune and appropriate the object of a hypotetical ‘Belleza-y-Felicidad’ fan.
2. In general terms, how would you suggest to approach your work?
By means of a genealogical constellation.
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 find affinities and influences in works by Diana Aisenberg, Andy Warhol, Gachi Hasper, Roberto Jacoby, Federico Manuel Peralta Ramos, Pablo Suárez, Peter Blake, Suscripción, Sameer Makarius, Alejandro Ros and Alighiero Boetti. I'm very interested in the works by Alberto Greco, Enrique Ahriman, Liliana Maresca, Feliciano Centurión, Alejandro Kuropatwa, Gustavo Ballabriga, Sebastián Gordín, Fernanda Laguna, Flavia Da Rin, Oligatega Numeric, Campopsi, Federico Lanzi, Natalia Cristófano, Gabriela Gutiérrez, Hernan Blinder, Noelia Yagmourian, Julieta Ortiz de Latierro, Adrián Villar Rojas, Adriana Minoliti, Mariano Giraud, and many many others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Proyecto Venus, Ramona magazine; art histories and Diana Aisenberg's school; Liliana Maresca, Gachi Hasper's documents; Jorge Gumier Maier's CC Rojas, Fernanda Laguna and Cecilia Pavón's Belleza-y-Felicidad; Gustavo Bruzzone's video archive from the 1990s, "Escuelita Thomas Hirschorn", by Diego Bianchi and Leopoldo Estol; "Actividad de uso: sobre la obra de Vicente Grondona" (Use activity: on the work by Vicente Grondona), by Pablo Accinelli and Leando Tartaglia; Forrito Privado, The teaching activity of Guillermo Kuitca, Diana Aisenberg, Marina de Caro, Tulio De Sagastizábal, Gabriel Valansi, among others.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?