I was born in Buenos Aires, Argentina, in February 1976. I live and work there.
I graduated in 2000 from the University of Buenos Aires as a graphic designer. I started studying photography at La Sombra School of Photography, led by Alberto Natan and Martín Rosenthal. In 2002 I joined the ph15 Foundation project with which I still collaborate. (www.ph15.org.ar). ph15 is a place for creativity and expression through photography, aimed at kids and teens who live in one of the emergency and marginal neighborhoods of the city of Buenos Aires, the shantytown number 15, called "Hidden City".
In 2004 and 2005 I took part in an art workshop directed by Gabriel Valansi. In 2006 I was selected to participate in the fellowship of the National Arts Fund called "Readings in Arts. Eight Questions", issued by A. Romero and M. Giménez. Since 2007 I am a member of the ArtWork Workshops by Diana Aisenberg.
Workshops and Seminars: Contemporary Art Workshop by Axel Straschnoy / Seminar on "Art and Alchemy" by Julio Sánchez - Malba, 2004 / Seminar on "Interior Landscape" by Ignacio Iasparra - Rojas Cultural Center / Photo Editing Workshop by Guillermo Ueno.
Since 2003 I participate in individual and group exhibitions including:
2008. CASA DO OLHAR, São Paulo, Brazil // 2007. IDENTITY 27 [IDENTIDAD 27] / Revisited biennial [Bienal revisitada], Gallery EBA-Cusco-Lima, Perú / Liquid Map [Mapa Líquido], Buenos Aires / TOSTO, Buenos Aires // 2006. Open Studio [Estudio Abierto], Correo Central / Open Encounters of Photography of the Festival of Lights 06, Fedro Gallery, San Telmo, Buenos Aires / Transit Area [Zona de Tránsito], Cervantes Institute of São Paulo, Brazil. International Exhibition of Latin American Artists / The Night of the Museums [La Noche de los Museos], Buenos Aires Government Festival // 2005. Painted Mouths [Boquitas pintadas], projections in the framework of Brandon GayLee V, Buenos Aires / Acid Assortment # 14 [Ácido Surtido # 14] / Power [Poder], Art Specifications // 2004. Yellow sonority [Sonoridad Amarilla], ph15 Foundation, Buenos Aires // 2003. Audiovisual projection in The Ship of Dreams [La Nave de los Sueños]
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.
A series of five outdoor "Counter-fronts" ["Contrafrentes"], which at first glance may seem documents of spaces, cities, they are landscapes and were the beginning, the journey and the exit out of the heaviness, the inertia and thee opacity of the world. Like the flight of Perseus, which allows me to change my approach, my methods of verification and knowledge, I got out with a medium format camera, my beloved Mamiya C330, lent by my great teacher Gabriel Valansi for a period of almost two years. I made this small but powerful series that would then trigger multiple pathways. A series made in a specific neighborhood within the city of Buenos Aires whose geographical location and / or name faded away to give way to something more universal, particular, local and total in each perceived thing. This is the series that represents me the most and still accompanies me.
Images of a society that changes in a time and space that are constantly transforming, metamorphosing. Register of companies: spaces of the urbanized everyday? ¿Sketches from this world? Landscapes that cross these routes and on doing it they reinvent themselves: UTOPIA? NEO-LANDSCAPE? WALL OR FENCE?
The term "space" (from the Latin spatium), as the extension field that contains all the existing matter; "space" as the distance between two bodies, but also the distance traveled by a car at a certain time (as well as the lapse of time between two events); it is also the part or place that occupies each sensitive object.
Transit of information, multiple paths. A space, a zone: sensitive, permeable.
"Hybrid zones", "permeable" or "sensitive" are the names I use to describe the work process and / or production performed in different spaces and / or cities. Not only cities, for being urban spaces, are the starting point of my raw material, so are the spaces, small or large.
Regardless of their size it is everything that makes up a space or area to walk through, to feel, to move in. To draw routes and patterns which are simultaneously intertwined, interwoven and build. Creating landscapes that reinvent themselves: "improbable landscapes", "sensitive areas".
Traces of a journey planned only by intuition and / or direct experience of subtle elections of streets, smells, materials, shapes, colors, sounds and appearances that will make it up and spin it in order to experience, absorb and give back.
Registers of vital pathways such as: go-come, go forward-go back-go forward again, walk-run, lose oneself-find oneself, do-undo, stop and contemplate, so as to enter a zone. Timeless and hybrid. A zone in constant loop where the route loses its real start and end. Traffic weather to keep monitoring the constant quest to push out from the inside to see the need that it breeds. Shall the plain physical experience of colliding with a space be a zone? Or shall it be its traffic?
2. In general terms, how would you suggest to approach your work?
I would just suggest them to be committed with their own and subtle direct elections, which are displayed by their senses.
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 identify with a generation of Argentine collective artists, with global and local experiences of self-management and exchange, translated into an "artistic gesture". Understanding the meaning of the word "collective" as an idea, rather than as a practice, which of course is not excluded.
A collective thought whose thread is made up of many individuals and lines of thought that meet, intertwine. Managements and interventions, meetings and discussions. Surely a result of tools and media such as blogs, emails, Google, Flickr, shooting, teaching and offering new readings, new methods of knowledge. Made by many in virtual parallel dimensions with different backgrounds, geographical locations fighting with those limits, whether they be geographic or academic. Cultural, social and community exchanges made with great effort!
Who but these remarkable persons are those that take part, and build the art today, or at least a cut of it and allow us to understand it? As the thoughts of those who have left their precious legacy, with which today we build our own, do and did!
The crucial and confusing moment in which Eugène Atget merged into the streets of Paris in the XIXth Century.
The vast abyss of Sally Mann, the new landscapes of Nan Goldin causing all kinds of nature. The sublime in Bosco, the Utopias of the cities and poetries of Xul Solar, of Niemeyer or of Gaudi. The wisdom of Joseph Beuys, the stark and forceful of Walker Evans. The color of William Eggleston, the depths of Sugimoto, the dreams of Paul Graham and the panoramics of Wenders. The energy and the joy of liberty of Hélio Oiticica, the line and the point of Mira Schendel.
I am interested in the past and future of Francis Alÿs, Wolfgang Tillmans, Miguel Mitlag, Pina Bauch, Sophie Calle, Yoshitomo Nara, Christian Boltansky, Benito Laren.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The following exhibitions were highly significant, it would be a terrible crime to try to explain them, it is enough to have had the great joy of experiencing them!:
2008. United Manufacturers [Fabricantes Unidos] by Eduardo Navarro in LA DULCE Gallery, Once Neighborhood, Buenos Aires / Everything is possible [Todo es posible], photographic diptych by Cecilia Szalkowicz, MALBA / Liliana Maresca in Recoleta Cultural Center.