Claudio Alejandro Docampo

Works
Biography
Vision of art
Links
Contact

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Mentioned

Domestic Luxury [Lujo doméstico] (2012-2018)

ornament & anArchitecture, domestic erotechnique, digital montage / neated papers.

Material Painting (2006-2018)

enlargements of an anatomic-calligraphic motif, volumetric panting, heat molded plastic.

Drawing Project [proyecto dibujo] (2005-2018)

Drawings on technical paper, manuals, books, brochures, maps, affective pictures (related to the body in general, sportive, erotic, family) on the frame-background of technical lines-linings.

plastic bodies /wrapped corpses (2005-2018)

Polyethylene sets made with heat + found piece.

another no-Painting (2005-2016)

discontinue series

Double Illustration [Ilustracion doble] (2004-2018)

Dual drawings with two tied pen ("domestic couples" for poem book; erotic-sprotive drawings on maps, car accident articles, etc.)

Fair Project [Proyecto Expo] (2000-2017)

Works near to architecture, of my own and with collaborations exposed in Buenos Aires, Viena and Rotterdam ("X-PO",con M.Nava, org. x PAC-R.D´Amico, M.Olabarrieta, S.Pagés, R.Lombardi y ot.; "1(3)advertencias..",con G. Diéguez, org. x P.Torroja y M.Corbálán)

Monument [Monumento 1] (2000)

"The brick pyramid hides the view of the river and, fronting the attentive wandering forced by a hard floor, it presents the highest point if the consciousness challenging itself. The piece pretends to assume the impossible symbolic overcoming of the crisis: the postponement of trials brings up indesiphrable emptiness. "

Knots [Nudos] (1996-2018)

“linking enphasis”: knots, fusionated by heat or tied (natural size or scale).

Tableau queer [Tableau queer] (2005)

Polyethylene shaped hands + containers with no frame

Container project [Proyecto Envase] (2004-2018)

Domestic container’s collection; cuts, montages, deformations, transformations, sets.

projectives scenes (2004-2018)

mixed media.

more no-Painting (2010-2018)

Latex, oil, varnish, fabric, paper, polyethylene, color pencil .

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 work of mine, isn’t it? “Tableau Queer” is a canvass on frame (like artificial country-grass)of 30cm x 50cm, with figures of hands made of polyethylene and packages. It is not recycling; I see plastic in general as a “luxury vehicle” (brightness, smoothness) although it’s cheap and disposable. The sensuality of the domestic packages call my attention, full of “copulas-click”. In these hands, like in other artworks, I sculpt with heating pistol molds of my body. This particular piece will say something on the lived, not dreamed bisexuality…, or not.

2. In general terms, how would you suggest to approach your work?

I wouldn’t suggest to read but to look. I know it may sound as an obvious joke, and that other artists may have turn to similar explanations, but I really do think that you need to look. Premeditated synthesis, personal style: NOT. In the end, after an architectural formation, there is need> association> influence> control: projective scenes. Projective scenes that request to be seen… widely, through “erotic malleability” that harasses certain vulgar objects (Sontag) - common objects with great projective excessive by those objects, it seems to me, they could be mandates of durability, utility, etc. material tests of obsession or fundamental instruments of some training - like in the atavic vision of a courtship that presents/displays, for example, any sanitary set: assemblies of stoneware and chromium that could be seen in the future as we see a pre-Columbian granite mortar now : elements or theaters of projection, produced under the resistance between our sharpness and our infantilism.

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?

Position and tradition… strong. I don’t think I belong. I’m interested in Duchamp, R. Horn, V. Muniz, M. Barney, Idon’tknow. Argentines, for the following question…

4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why

With Pablo Suarez’ artistic production I have an enigmatic feeling that Works just fine, originated in my architecture rational professor who once told me Suarez was the greatest Argentine artist. A. Seeber’s painting – who has greatly influence me – for the strength of the fantastic stains, with figurative directions (as in Deira’s work) and the resistance to style with style. The friendly-unreachable J. Neumann drawings – unreachable to me since im through a machismo period. N. Constantino or T. Espina’s, with the recurrent question – Why this – what is this? – the fact that there is hand and eye at the same time, the search of a specified expressivity.

5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?

I don’t know. I don’t know enough. I see odds and ends, groups of friends, strains attached, great efforts, and at the same the same time, the reflection of a pretty sad class. Only burocrats that have mistaken about their careers and won’t admit it, like trends.