I trained as an art historian, not a curator. The possibility of choosing curatorship as a profession didn't exist in Argentina when I chose a university in the late 1980s. Today, there are undergraduate and graduate programs for training as a curator, and yet, I still maintain that a curator is trained in practice, not in a classroom. Furthermore, there is no such thing as "curatorship" in the singular; there are various curatorial practices that may or may not be practiced by the same people: independent, research, institutional, authorial, editorial, and several more. Curatorial practice involves a wide range of knowledge, and undoubtedly a solid grounding in art history is an important (almost fundamental) contribution. And yet I use the "almost" because I can't maintain that being a professional (if by professional we mean academic training) is a sine qua non condition for being a good curator. I know artists who didn't go to university who have curated memorable exhibitions. And I believe that this condition of unbounded practice gives curatorship depth and depth (despite the opportunists and those who might think that choosing a few works and hanging them on a wall ends up being curatorial). I continue to learn how to curate an exhibition every time I take on a project. I realize that, despite experience, there's no way to apply a model or methodology (a word that academia loves). What does happen is that over time, one gains more confidence, builds a team, and cultivates interlocutors (colleagues who love what they do as much or more than oneself, and with whom one can share doubts, ideas, and intuitions without fear of making mistakes), and then the ways of deploying curatorship begin to emerge and are developed without so many prejudices and constraints. My work trajectory even led me to develop a curatorial project, the Parque de la Memoria (Memory Park), of which I am particularly proud. In this case, I work as a curator of curators, choosing curatorial projects for an institution, curating some of those projects myself, and always, of course, making those choices and decisions (curating involves making decisions all the time) within the framework of diverse realities, political, economic, personal... Reality always ends up imposing itself on the project we conceive (the budget wasn't enough, we couldn't get the work we wanted, etc. etc.) and there we also prove ourselves as curators, ensuring that those limitations aren't (as) noticeable, so that in the final result they aren't perceived as flaws or shortcomings but rather that the project breathes vigorously and says what it needs to say loudly and clearly. Curating an exhibition, in short, is creating a story based on one or more hypotheses, asking questions and not necessarily proposing to answer them. We write with images, with works of art, with diverse materials or instruments, a story in space; We construct this narrative by assembling these materials to intervene. I always believe there's an intention to intervene when publicly exhibiting a curatorial project, and that intervention (in art history, art politics, the market, the art scene, etc.) has its impact (greater or lesser) and also its consequences. Curating is political; it can't not be.
Curator, art critic and teacher of contemporary art. She currently serves as General Director of the Memory Park-Monument to the Victims of State Terrorism, having been the Chief Curator from 2011 to 2023. In 2013, she obtained the Trabucco Scholarship with a research project on the emergence of Political memory in Argentine art during the nineties. In 2016 he obtained the Radio France Internationale and Radio Culture Award for the Promotion of the Arts for the Curatorial Program of the Parque de la Memoria. She was curator of “Disrupciones” within the framework of ArtBasel Cities Miami, PINTA PARC Lima, PINTA Miami and the two editions of ArteBA Focus. In 2019 she was curator of the Argentine submission to the Venice International Art Biennale. She is President of the Argentine Association of Art Critics (AACA), Professor of the Master of Curatorial Studies at the University of Tres de Febrero and has been a member of the curatorial team of BIENALSUR since its first edition.