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.
I don’t know if it’s the photograph that represents me the most, but it´s a photo my father is very fond of, because he says a photo must be seen in context. At least because of the way I work with photography, not preparing the scenes but catching them in the act, there’re situations in which the final result beats by far the experience of the moment. There are images which come as they are, they’re already there and one just takes them, grabs them; but others have to be seeked for more, asking more to that situation. That is to say that my intention is not to fall in the obviousnees of the photographic image. I’m aware that this is not always achieved, but the challenge is constantly present. As for the technique, there’s no secret; it’s just photographic technique: light, camera, time and sensitive material.
2. In general terms, how would you suggest to approach your work?
This is related to the previous question on the subject. To me, the theme aspect of photography is constantly present: what’s the photo about, where was it taken, what’s the image showing me. The referent is present all the time, because of its documentary value and the importance given to reality within the photographic image. And many times, when people look at my photographs, they want to get to know all this, what’s seen on a first approach to it. To me, that’s absolutely irrelevant, a rather secondary aspect. I tend to give much more importance to a certain sensation, what is felt when contemplating an image that might be showing me a building, a tree, a car, a route, a person or whatever. I try somehow to capture those lived sensations that pass lightly over the spirit.
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?
It’s hard to talk about the photographic tradition in Argentina. To this moment it seems nearly impossible. From some time now and to this day, Josef Sudek and Juan L. Ortiz are the people that I choose to go out fishing, I’m very interested in the work (and being in touch with) Vivi Iasparra, Gabriel Paiuk, Paulo Fast , Guille Ueno, Julián Gato, Estaban Pastorino, the boys of Viajo, Nicolás Bedini, Santiago García Navarro. Then there’s the admiration for many artists that would form a very, very long list.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Some: Alberto Goldenstein and his photos of Mar del Plata exhibited at the Photogallery of the Teatro San Martín, and Flaneûr, at Ruth Benzacar. Alberto’s simplicity is very difficult to achieve. Esteban Pastorino at Dabbah Torrejón (2006), and all the previous ones, because of the way he manages to take technique always one step beyond. Sebastián Gordin at Ruth Benzacar (2006). On one rainy day I was walking along Florida St. I went down to the gallery and bumped into that magical and rainy world. It was hard for me to walk away from that exhibition. Roberto Aisemberg’s retrospective at the CCR, because of his contundent line of work. Lola Goldstein’s exhibition at the CCR (2006). The best products comes in small packages, very small. Marcelo Pombo at Ruth Benzacar, because of the meticulous and obsessive construction of such a slight thing.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I’d just like to add my experience with my friends of Viajo, where the act of sharing becomes the common element. It’s like travelling. Viajo is a state of mind, a sensation.
