He is committed since the early 90's to sound exploration through the use of electronic and acoustic medias. He has over 22 edited discs as Luis Marte and other 40 where he participated as a guest artists or as producer.
Creator and director of the multimedia event Fuga Jurassic which takes place at the Argentine Museum of Natural Sciences. Director of the Artists' Collective Fuga.
Nowadays he develops the project Temples, recording of the nineteenth century churches for further processing (as done in Buenos Aires, Lima, Madrid and Basque Country).
Director of Cultural Events for the Museum of Natural Sciences B. Rivadavia (2002-2008). He is currently the coordinator for cultural events of the Felix de Azara Foundation. In 2003 the Temples project was declared of cultural interest for the city of Buenos Aires. He was given the Telefonica Foundation Award 2005 for the music composed for the video Absences of Andres Denegri. Metropolitan Fund Award for the Arts 2007
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.
Temples. This work collects sound information of churches built prior to the nineteenth century, which by its particular architecture develops very particular and interesting acoustic environments that became a method of amplification in order to reach every corner of the building with the preaching
Once these environments are recorded the material is electronically processed. The recordings are made in the atmosphere of the place where the building structure acts as an instrument itself, a sounding box and its special textured shades plus the natural raids of the action itself. Temples is a work where the spaces are very important, since it refers to the sound vision of the churches environment. This work is framed within what we call noise art.
2. In general terms, how would you suggest to approach your work?
The most concrete way to read my work is that of the viewer himself. That suggested by the time and mood of the listener.
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?
My work is at a point where abstraction in sound is one of the most expressive elements, therefore the context becomes the “artwork” itself, and this allows the necessary freedom to “read” at any location chosen by the audience. Noise art is the closest expression to describe it. My references are John Cage, Carlos Alonso, Juan Doffo, Bill Viola, Joan Miro, Kraftwerk, Can.
From previous generations I'm interested in artists engaged with serious research and investigation, of any kind and those that are emerging. Also those who seek for their place as artists, with their work as a showcase to the world.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Sol Le Witt, Fundación Pro higher level conceptual art, I was very impressed, Pablo Reche at Recoleta one of the best noise concerts I've ever seen, Danel in Jurassic Fuga 9 excellent concert, almost verging electro acustic but without its elitist pretensions. ArteBA 2008 many good exhibitions in one place. Sensorial Mediática the first multimedia festival of our country, made through the effort of the artists and organizers together.