When I was 22 years old, I drove forward the total de-materialization of the artwork by means of operations with the social matter through mass media and diverse communicational structures: messaging circuits articulated by posters, telephones and answering machines, systematic transformations of the urban environment, media conferences, antihappenings, multimedia shows, etc., which I carried out in different spaces in the form of collective or individual projects. In May 1968, in Message, at the Di Tella Institute, I spoke of the “dissolution of art in social life”, a notion first outlined by Octavio Paz when commenting on the experiments we made together with Eduardo Costa. I participated in the group of researchers, philosophers, architects, analysts, semiologists and artists that gathered mainly around Oscar Masotta, such as Eliseo Verón, Oscar Steimberg, Alicia Paéz, Nicolás Peyceré, Diana Agrest, Gandelsonas, Juan C. Indart and many others. As several Argentinian artists, I withdrew from activity towards 1969, after mixing media hypoteses with artistic-political actions (Tucumán Arde, Sobre magazine). Since 1969 I turned towards social research and political epistemology. In the early 1980s, I wrote over fourty songs for the pop-rock band Virus, which led the young musical movement. I organized several multimedia shows, party-performances and an anti-disco movement named Club Social, Deportivo y Cultural Eros (Recrudece at the Olympia, Body Art at the Palladium, Decadance at the Opera, “Los 13 chicos más lindos”, a remake of an Andy Warhol work at the Experimental Center of the Colón Theater). In 1988 I began making individual “works” again with an installation at the ICI, which recalled the 20 years gone by since 1968. With Kiwi Sainz I developed Fabulous Nobodies, a brand with no products which published its advertisements in magazines. In 1994 I launched a media campaign against discrimination based on the release of T-Shirts with the motto “I have AIDS”. Since 1998 I have been working in the development of multimedia networks for artists and technologicians through project Bola de Nieve, Chacra99, Ramona magazine and Venus Project for which I received the Guggenheim grant. In 2001 I began to experiment with dark spaces: I produced the installation No soy un clown at Belleza y Felicidad. In 2002: Darkroom, a performance for infrared beams and a single spectator, also at Belleza y Felicidad.
Roberto Jacoby
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WORKS
 A guerrilla fighter does not die to be hung up on the wall)Screen painting, included in Sobre magazine. VISION OF ART
 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. In general terms, how would you suggest to approach your work? 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? Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?LINKS
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