22/06/2024
What does it mean to be a professional curator? In recent years, the word curator has become trivialized, and anyone who hangs a painting in a gallery is considered such. In the modern sense of the word, a curator is someone who proposes a hypothesis, selecting artists and works to arrange them in a spatial circuit that involves conceptual knots. This is the difference with the traditional curator, who was "a curator," caring for a collection, preserving it. Sometimes the curator submits to the pressures of trends, forced to work within what academia or even the market demands; other times, they take risks and choose themes, artists, or works outside the system. I believe in teamwork, whether with a co-curator, with the artist(s), the editor, the lighting designer, the catalog designer, and communication. I am interested in teaching curatorial skills; the knowledge one acquires must be shared in a clear and didactic way, aimed at a general audience, and always working upwards. This requirement applies to the most humble gallery and the most important museum. I'm interested in the Zeitgeist, the spirit of the times, examining group shows, visiting studios, galleries, and museums to detect interests beyond trends. This has happened to me, for example, with two exhibitions, one about Gauchito Gil (Tono Rojo, 1990); I saw a recurrence of the character in several artists and brought them together for an exhibition when the popular saint wasn't even known in Buenos Aires; or with an exhibition of Tarot de Artistas (Galería Holz, 2006); I had visited a studio and the artist showed me everything except a few Arcana that he considered very personal. At the same time, while I was a jury member for an award, my colleagues rejected two artists who presented Arcana because they didn't know what it was about.
Graduate in Art History (UBA) and Master in Cultural Management. He is a curator, art critic (he published various prologues, essays and journalistic articles), teacher (University of Buenos Aires, New York University, and currently at the Universidad del Cine, Universidad de Tres de Febrero, Universidad Nacional de las Artes and Universidad Nacional northeast). It approaches theory from the symbolic tradition, Jungian thought, alchemy and comparative religions. Before the word “curatorship” existed, he created the "Art Exhibition Assembly Workshop" in 1990 at the Secretariat of University Extension and Student Welfare, Faculty of Philosophy and Letters, UBA. As a curator he created art spaces at the Faculty of Philosophy and Literature. Letters (1991 -1992), New York University -in Buenos Aires- (2001), Pop Hotel Boquitas Pintadas (2002-2004), Tono Rojo (2003-2005), and currently in VITRIOL (2022- present). He organized exhibitions in different institutions such as the Art and Communication Center (Cayc) 1991, the Recoleta Cultural Center (1994, 1995), the National Museum of Fine Arts (2006), the Klemm Foundation (2015), Immigration Museum (2020 ), Museum of Fine Arts of Corrientes (2016 and 2023), Museum of Contemporary Art of Salta (2023), art galleries (Galería Holz, 2006-2010) and others. He received distinctions and awards from both the Argentine Association of Art Critics and the Pettoruti Foundation.