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.
Los infinitos (The infinites): are some of my latest photos, I generally took them in photography studios and the portrait subject is in deep focus or with none. This element, for those who don't know it, is a large piece of cardstock almost 3 meters wide x 11 meters long, which bends at the floor; in front of which the models or products to be photographed are placed, and its function is to emphasize and separate the first plane. I wok with all types of backgrounds: paper, wood, material or the wall itself. The most important thing is that the light be natural since in these spaces they generally work with artificial light. This is a series that forms part of a larger whole which intervenes with the spaces of representation with light. The next series are photos of theaters, work done in collaboration with the lighting directors of the theaters, I ask them to produce a lighting set which illuminates the seats of the room from the stage and I take the photo from that same stage trying to translate that luminary idea.
2. In general terms, how would you suggest to approach your work?
Like a movie about light with music by Leonard Cohen.
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 see myself in the tradition (if there are others whom have confessed it) of the imitators who persevere until they find themselves. The artists that I try to plagiarize the most are: Rothko, Spinetta ,Antonioni, James Turrell, Ueno, Iasparra, Gombrowicz, Agnes Varda, Sally Mann, Sugimoto, Tsai Min Liang, Nan Goldin, Herzog, Lamborghinis, Tarkovski. And the greatest super hero artist: the mountaineer Alain Robert... up there.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I'm in accord with the exhibition of Arte de Argentina 1920-1994 (in '97) when I worked in the Centro Cultural Borges. It was a very important show for me because I met in person many artists whose work I knew and at times they stayed to listen to what I said about them in the guided tour. Later, the show curated by Gumier Maier in Recoleta. “El tao del Arte” ("The tao of Art") I was quite impressed by the coherence of all that work from the 90's. In that era I hated myself for not making something beautiful, the artists did not speak to me and I didn't answer them either. There was a show in the Giesso space (I don't remember the year) that was about zen buddhism in various visual disciplines. In that show I came to know the works of people like Guille Ueno and Alberto Goldenstein that would later become so important for me and added to my ability to sit in zazen and learn to let the clouds pass. For some time now I have not been going to openings since they accentuate my social phobias like the products of Venn diagrams. The last that come to mind are Le Parc in Bellas Artes and Aizenberg, Pablo Suárez and Juanjo Cambre in CC Recoleta. I went through them with a lot of enthusiasm, and trying to see retrospectives of so many years of someone's work makes one wonder what causes such deep thirst, quite useless.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I perceive them as a hydrographic basin or Delta. They are the large, powerful, flowing rivers in which the artists of large rivers circulate, the medium rivers of medium current on which the artists of medium rivers sail and the little rivers that seem more like the veins of those rivers by which the artists of those rivers travel. There are also the lakes and the lagunas where the current does not exist. But there are artists there also.
