Biography
Visual Arts and Playwriting Degree (IUNA and EAD, Buenos Aires). His feature-length documentary "Hacerme feriante (Become a stallholder, 2010)" shot at La Salada informal market, was shown at several international film festivals and was awarded Best Documentary Prize by the Argentinian Academy of Cinematography and from FIDOCS Festival, among others. In 2015 he premiered "Embodied Letters" his second film has been showed on Viennale, Hamburg, Transcinema and Forum.doc among others festivals). He designed the 4 channel video installation “Ride direction”, where documentation was made based on a video residency at the Cité des Arts of Paris in 2009. Between 2007 and 2010 was involved in Post It City project, developing the short “Suite Matanzas” from a variety of sailings in the Matanza Riachuelo basin and “Overlock” on the issue of domestic textile workshops. In 2011, he produced the site specific installation “Antropolis” for the Bicentennial State Park in the Province of Buenos Aires.
He exhibited his work in spaces as CCCB (Barcelona), Casa de las Americas (Madrid), Maison Rouge (Paris), Fondazione Cerere (Roma), 98 weeks (Beirut), Igbildendekunst (Vienna), Kunstverein (Wolfsburg), UCSD Art Galley (San Diego), Black Movie Festival (Geneva) , Architecture Biennale (Sao Paulo), Museo de Antioquia (Medellin), Arte Afuera (Córdoba), and Galileo Galilei Planetarium (Buenos Aires).
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.
For over three months I worked at an abandoned factory which occupies almost a block on the street Guevara of the Chacarita borough. It was in 2004. A narrow path led you to the heart of armored concrete, where you could see the middle square’s courtyard. In the center stood the Arc de Triumph entropic, inspired formally from the Monument to Bolivar of the Rivadavia Park. To build “the Arc” I used module drawers for some old milk bottles (at first the factory Casanto used to function in there). For the platform, a real estate banners (Banco de la Provincia de Buenos Aires, who had also worked there as a kind of supermarket for banking accessories and furnishings... how many uses can be given to one same location?). Passing through the arch, within a few meters, the visitor was on a runway like those in the Falls, but less secure because they had no railing. From the top the view of the square changed since this route was also surrounded by trees that we had brought from Dique Luján with a Van, a separate anecdote. This area was a cemetery of posters, some of which foreshadowed the future of geriatric publicizing site. The gateway opened into a passage leading to the restrooms by far the creepiest place in the factory, where time has literally stopped, the plaque on the tiles, the same pale light all day. Here we place a series of speakers that you could hear from the arc. The sound experience. If you were on the terrace you could hear the square through the chimneys. In front of the Arc there were some rooms that became an apartment for rent, with a dropped ceiling, which we got off the second floor, parquet stacked in a corner and a wall to which we attached a chip found in some abandoned doors. We shut off all sources of natural light and got five public Strand lanterns, those that hang on the street intersections. We buried ourselves within night, in a square that existed before it was even finished. After the opening, visitors were added to the experience, because we, the staff of the New Town (a diverse group of artists, musicians, gardeners and workers) were still linked to the space in the same way, crossing, finding, thinking, measuring, inventing, moving, listening, destroying, understanding, surrendering. A fanzine / catalog that emulated a classifieds magazine gathered documentation of all these actions. Now I am finishing a book that has much to do with this publication, it will be called The displaced.
2. In general terms, how would you suggest to approach your work?
A reading that could not be pre disposed or anticipated. The predisposition (To say: I will read such thing or I will see such exhibition) creates an instant backup of our prejudices. It is the danger of institutional spaces. That is why I like the actions that are among the institutions. Superimposing them, exchanging them. I'm finishing a kind of institutional video dance that pursues these postulates.
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?
Traditions in fine arts are like literary genres, with their laws, dogmas and formulas. Forms of communication, effectiveness and satisfaction of the viewer. Art is a medium to learn about ourselves. The works that know themselves too well, however, seem self-help (a Polish immigrant once said: There is something in consciousness that becomes a trap for itself). If given a choice, because of its tendency to drift and poetic action, I’d choose science fiction applied to reality, although packaged in small doses. Something like the Arlt invention of the Aguasfuertes (and yes, I went through the press).
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
One day I traveled with some friends to the railway workshops of Remedios de Escalada to see a sample of the Group Ticket Type Edmodson, which was mounted on some wagons. The mark of the territory and the whole excursion seemed to me like a great work equivalent to a sunny day. One night I went through that beautiful space that is the underground tunnel guarded by the Monument to the Spanish. Along the width corridor there was a series of monitors and microphones confronted with blackboards. The showing was called Catch 22 goes underground, if I am not inventing. The microphones coupled, of course, and one could assume that. I remember a few of us got stocked in the hallway muttering to the wall. Again, the sound experience. For several years is being done in the Jurassic Fugue at the Museum of Natural Sciences during the winters, at the Centennial Park. For me it is a ritual to go there after taking a mug of coffee with brandy in the untimely corner bar of Warner and Angel Gallardo streets. I hope the Cromagnon effects do not outweigh that conquered space.