Biography
I found the following definition:
“Art is, above everything, intellectual order, its action consists in printing on material an idea, that art piece has been formulated, settled and prepared, growth and mature in a reason before coming physical, this is why it keeps the artist’s color and “flavor”. This is the reason for which an art piece is absolutely spiritual, for being a sensitive and intelligible object.”
Definition in geometrical language (After lots of Aisemberg and metaphysic painting); had its beginnings in Tomas Maldonado’s writings (PreUlmianos), especially after the approach to Alejandro Puente and Gyula Kosice’s ateliers. This questioning got even deeper in the avant-gards philosophy, the modern Russian and European utopias with thinkers like The Lissitzky y Malevitch, De Stijl y Bauhaus(Albers,Moholy Nagy etc). This proximity with the “avant-grads” like pictorial operation, though without direct appropriations, is next to the “Relational Aesthetic” and is what moves me away from Op and minimalism. I aim at the rationalist non-illusionary conception of concrete “Materialistic” base of a work, crossing science the fiction aesthetic or “technology mirages", although we are all submerged in the digital potentiality, it is possible for us to see the failure of science technology integration like the “utopia liberation” of the mankind, where the relativist conceptual crisis, perversity, marketing and infantilism destroy the most important thing of the Art… (this without pretensions)
In the formal aspect, my repeated interest in the dimension projection is clearly seen. Dichotomies that get together in different perspectives: concrete - virtual, volume - flat. Always surrounded by real space (room), light and real surface.
I was born in 1975, in Quilmes (Buenos Aires, Argentina) and I live in Buenos Aires.
Ciudad Bank Award, National Museum of Fine Arts (Buenos Aires, Argentina) 2002.
Palermo University Award, National Museum of Fine Arts (Buenos Aires, Argentina) 2003.
20 x 20, Praxis gallery.
Iberoamerican Pageant, National Museum of Fine Arts (Buenos Aires, Argentina) 2004.
90°, Borges Cultural Center (Buenos Aires, Argentina) 2004.
Abstract Art Today [Arte Abstracto Hoy], Spanish CulturaL Center IN Buenos Aires –CCEBA- 2005.
Barbarian [Bárbaros], National Art Fund (Buenos Aires, Argentina) 2006.
Madí Project: 0660 [Proyecto Madí: 0660], Federico Jorge Klemm Foundation 2006.
Duchamp in Buenos Aires [Duchamp en Buenos Aires], National Art Fund (Buenos Aires, Argentina) 2007.
Paintings, solo show [Pinturas (individual)] FEL 08.
By appointment (Young Area) ArteBA 08.
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.
As I’ve recently show in a collective exhibition, and some might have seen the work, I choose "Hypersistemax (Hal)”, painting based on computer designs, which I then pass on a 3D model to solve the technical procedure. It is realized in a three dimensional support and it makes emphasis in illusionary space – trompe l’oeil- suggesting a futurist scene in an unknown place influenced by Kubrik’s 2001. Though it recalls technology there is no track of it, just an image similar to a hyper computer made with formally concrete resources.
2. In general terms, how would you suggest to approach your work?
Since 2002, my works generally get an almost revisionist character of the Argentine geometric vanguard, focusing in the attack towards the illusionism and the conventional frame that both declared, integrating these aspects in painting and interventions. From the very start, I was interested the geometrical language because it was always related to certain mysticism of an almost religious poetic, sometimes with solemn speeches. Now I am working in a series with the interest to relate my production to the lost or impassable modernist utopias, and the futuristic visions of some exponents of the science-fiction. A reading with much less information is also recommended.
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?
There is an entailment with minimalist, neo-geo and other tendencies. I’m interested in design, contemporary architecture and other manifestations that thanks to Google I get to see. Currently, I’m interested in the experiences that come from different places, including diverse personal stages around my self-taught period. Some referents: Suck 32, John Armleder, Mariko Mori, Aizenberg, Asimov, Kosice, Cippolini, Kacero, Björk, the 80’s Peter Halley, Paternosto, Puente, Costa, Star Wars, Buckminster Fuller, Michel Gondry’s videos, MSP…
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
show that finalizes and it summarizes his activity in the Rojas Cultural Center (Buenos Aires, Argentina) during the '90. Pablo Siquier at the National Art Fund (Buenos Aires, Argentina) with Cippolini’s texts. R. Aizenberg’s retrospective at the Recoleta Cultural Center (Buenos Aires, Argentina), one of the exhibitions that I’ve been to the most (five times I believe). I liked Federico Peralta Ramos’ retrospective at the MAMBA – Museum of Modern Art in Buenos Aires (Buenos Aires, Argentina), Schwartz collection in Malba – Museum of Latin-American Art in Buenos Aires (Buenos Aires, Argentina). Jumex’s selection of international artists and Malba`s Re-Collection [Re-colección] because almost everyone exposed there. Some works: ‘Homo Ludens’ by Nicholas Guagnini, turns one of Lozza’s piece into billiards table. Miguel Harte: when it creates those fictional biomorphic worlds, the details and invoices wake up curiosity. ‘Art Delivery’ by Marcelo Gutman: mail route sends complete original material: The Blind Man (M.Duchamp). N° 1 DE Stijl BY Mondrian among others.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I’m interested in mentioning Nicholas Bourriaud’s idea in which the contemporary artist uses sabotage, deflection and piracy as electronic music the DJs do: “The artistic question no longer is: What is the new thing that can be done? But, What can be done with? The supremacy of the appropriation cultures and the re procedure of the forms introduces a moral: the works belong to everybody. Rewrite modernity is the historical task of the beginnings of XXI century: neither start again from zero - nor to remain stuffed by the history stock, but to list, use and recharge”. (Postproduction. Publishing AH, 2004). In Argentina, artists multiply, it’s a pity experimenting spaces don’t. There are artists who amplify Duchamp’s model, the self-referential ones, the irreverent ones, the multifaceted, those who see art as a fashionable activity, the most interesting to me are the more experimental works and projects that in the best cases approach an integration of different areas: music, literature, technologies, cinema, marketing, investigation, etc.
