Sound artist, composer, concrete cellist, his work combines different media such as sound installation, performance and music composition sound through electronic deconstruction.
Fellow and resident artist in the Kunsthochschule für Medien Köln KHM, Germany (2001/2002); Künstlerhäuser Worpswede, Germany (2006); Césaré Centre National de Création Musicale, Reims, France (2007); Fellow in research and artistic experimentation of the Antorchas Foundation (1998/2002).
Hi work is premiered in Colón Theater, Projektraum Gallery, Worpswede; Latin American Art Museum of Buenos Aires MALBA, Modern Art Museum of Buenos Aires MAMBA; Recoleta Cultural Center, Trinitatiskirche Colonia, Overstolzenhaus Underground Colonia, Festival du Temps 2007 Reims, Altitude Köln Festival 2002, Electronic Art Bahia Festival BAE 2001, Dance Screen Monaco MZ 2000, Pretty Ugly Friburg Festival 1999, Electro acoustic Music Week in Buenos Aires 1990 and 1997, etc.
Works with the following artists:: Jorge Macchi, Margarita Bali, Llorenc Barber, Scott Nydeger, Steve Mckay, Diego Vainer, Manuel Hermelo, Daniel Veronese, Jorge Haro, Gerardo Litvak, Florencia Abbate, Aldo Paparella, Ricardo de Armas, Enrique Belloc, etc.
Composer and sound installer of the choreographic and multi media work Naufragio in Vitro funded by the Guggenheim Foundation and awarded by the Onassis Big Price 2000, Athena.
University teacher, delivers both in Argentina and in Europe Sound Playwriting, Sound Journey and Noise Poetics courses.
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.
Do not waste water!...Not even a drop!
For some speakers that emulates sinks we can hear: the first on the left a constant jet and in the second continuous drops. This warning is a little advertising works and it viable in the sense that for this purpose and message is not wasting water. Although I have done for recording shots! So the object speaker has a dual role: first container is shaped like something we can pour into it, on the other hand makes sound (jets and drops) replacing the water that is not there.
Thus, in the creative process, the plastic object materializes in parallel or at the end the of the sound but not before it. Previously, the work is constituted through a rigorous conceptual study. This coexistence of sound objects and plastics which interact in a system that speaks about a concept and which together I call “Dramaturgy of Sound”. Sound and Music are made up on time as a primary condition. Thus, the installation of sound allows me to install sound and plastic objects that endure over time (a before, now and after) instead of the performance that is also made up over time but that takes place in real time.
The sound (omni directional) permit me to occupy and invade the space by creating a particular dialectic with the plastic (or three-dimensional corporeal).
2. In general terms, how would you suggest to approach your work?
The reading is open in the sense that the public and the audience are those who finish composing the work through their sensitivity, cultural experience and the immanence to the object.
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?
In the first place I should appoint the Futurists: Russolo and Marinetti with their noise machines. Later, John Cage definitely inspired a new generation of artists and sound art performance and with whom he collaborated : Cinningham, Peik, Alvin Curran, Charlotte Moorman among many others.
From another posterior generation I appoint Bill Fontana, Trevor Wishart, Carsten Nicolai, Kubisch, Hans Peter Kuhn, Francisco López and artists who are particularly interested in sound like Rebecca Horn and Rafael Lozano.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Of the national artists that most of their work on the sound theme I would like to appoint Jorge Macchi with whom I collaborated in two pieces: the sound video installation The song of the End and the Glosa sound performance.
I'm also interested in Gustavo Romano's work.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
In some cases, I perceive a “renaissance spirit” manifested through the interdisciplinary as a total and integrated art.