I was born in San Juan, Argentina. Since child I said I wanted to study art, which I did after finishing high school.
In 2001, shortly before the 'stockyard' (corralito) crisis, I well finished my career. With dread, I saw myself: I wasn't a student any more, and the country seemed to be totally out of our hands. I was 23, and the perspective was, but black, very dark.
I began to introduce me to every scholarship I found in my way, and I got one, to make a two-year postgraduate course: "Art and public space”. In Germany.
I had finished my career that year in San Juan, Argentina. Within my studies and speculations, prepared to submit my final thesis, this had always been the subject of degree zero. From the impossibility of returning to zero degree. (¿!) Perfect! In Germany, I thought I can finally truly live the experience of returning to zero degree. Zero degree of language, zero degree writing, zero degree reading, zero degree of culture, zero degree of my world.
The zero degree sickened me. Now I wanted to understand. I worked hard, until I could ignore the melody of the new language, I stopped listening as shape, (so strange to me), and I began to understand its meaning.
And now with my old stains and these new learned here, I would like to return (for a changing, like tango ...). My feeling is that nostalgia increases over the years.
But I, with all my spots, I have an armed life here. And again means a duel. Other. For now I remain here, while tirelessly seeking ties to be connected to that other country, in which I mountainously don't live and I like to call it "home."
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.
The work that I choose to represent me is called "Previous watercolor”. Its format is quite large 1m x 1,50 m, in relation to the formats I have always worked with. It's about a grid where is drawn always the same fragment. It's a work where layers of watercolor painting goes accumulating over by frame. The last frame has 53 layers. This work is a kind of reflection on what I think is the artist's work: a slow-learning, progressive, where the first of all the "layers" that goes structuring to us, somehow stills visible, despite the latests (un) veils (or in thanks to them ...).
2. In general terms, how would you suggest to approach your work?
I think the work of all artists and also mine, goes armed with, complementing, supplementing, growing and establishing, as far as they continue with production. So it's best is to read all my works as part of the same process. There are aspects of some of them t,hats stills developing, or find their evolution, in others.
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 think the work of any person who engages in creative activity (in whatever form) is influenced and structured by every experience in his life. It is difficult to find an artistic tradition, and think: to this belong, because the tributaries of creative work are many and varied. All that we live daily, we read, the friends with whom we talked, the experiences (good and bad) that we have. Particularly for me, a strong reference, it remains so, are among many: the talks with my aunt, who is also dedicated to the artistic musings, my friends, companions in life and career, all the readings to which I had access. Borges, Italo Calvino, Barthes, Ivonne Bourdelois, and many others unknown characters with whom I share a writing course that gives Sandra Russo, who is great and unveiled. Within the Visual Arts: Miró, Xul Solar, León Ferrari, Jorge Macchi, Lucia Warck Meister, Gustavo Roman, Victor Grippo, Martin Weber, Paul Klee, Jenny Holzer, Sophie Calle, Cy Twombly ... and I could almost say that I forget more than what I can name. The tributaries of creative work are (I think) infinite.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Of the last 10 years I would say that the most significant thing happened in my life was my migration in the world. Stop living in Argentina, to become foreign. But if I could choose exhibitions, I would choose one that I saw in December 2001 that was called (I think) Visions of the South at the Reina Sofia in Madrid, and was not only Argentinians but also from Latin America. As in Argentina I always lived in San Juan, the significant exhibitions I saw were almost always from my professors, including three that influenced a lot in my training, and nurtured me with their analysis and ways of seeing, understanding and making art. Another exhibition that is also important to me, was called "Ex Argentina" were Argentinian and German artists, and was held in Cologne, Germany just after the 'stockyard' crisis.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I have nearly seven years that I don't live in Argentina, so it is difficult to answer this question. I'm in day to day in my country, and I miss much of what happens. Anyway the impression I get, is that there is movement, perhaps more than what I perceived being there. There are people interested in creating senses, to making think, in raising searches, and I find that very rich. I also think there are many different currents or paths within the Argentine art today, and that each is valid, has its meaning and its reasons.