I was born in Paris, being the daughter of two Argentinians on exile, but one year later we moved to Buenos Aires where I grew up. It gave me a french passport and an Argentine national feeling. I grew up in Buenos Aires until the economic crisis of 2001 when the country collapsed. That`s when my mother my sister and I moved to Israel. My dad stayed back home. Living in Israel didn’t suit me well, so I decided to go to Paris to study art. It took me three years to get accepted in the art academy of Cergy and meanwhile I worked as a cashier at the Goldemberg’s, a Jewish restaurant managed by an unorthodox man who didn’t quite know that war was over. The whole crew of the restaurant was either Polish, Tunisian, Algerian or Moroccan and those were the friends who taught me french because I didn’t know the language. After I started art school I completed my BA and later an MA with no honours, and I left for London in order to start an MFA in Art Writing at Goldsmiths which I never completed. Being left poor and unemployed I came back to Argentina in where I stayed for 4 years. In there many things happened all related to writing and teaching, I started an art writing cycle called Triple Frontera in which artists that wrote came to perform their experiments and that gave birth later on to an art writing newspaper called El Flasherito that is still going on. A few fanzines and publications came out also such as “Pobre Feo y Elegante and Algo mejor que nada” and then I started teaching first writing about art and second writing as art. I have always been very interested in seeing how writing and spoken word is a vehicle of desire.
All that is hybrid and stays in the intersection between disciplines, genres, television, theatre, writing, cinema, sculpture, cross genders etc, I like Ciudad de Cristal, Adventure Time, Robert Filiou, Miranda July, Kafka, Roberto Bolaño, Tim Etchens, Shana Moulton, Martin Rejtman, Marcelo Galindo, Nathaniel Mellors, Nestor Perlongher, Witold Gombrowitz, Phillip K Dick, Guy de Cointet, Cesar Aira, Pablo Katchakjian there are so many because practically I like things as long as fantasy intervenes as a political tool of the present into a form of documentary setting.
I am very slow at starting new work because I often work in series, episodes, tv shows so it is very rare that something independently pops out and starts growing with out having its own background as an institution. So what happens to me is that in a unorthodox way I have to crate a form of institution for each work that I do, and that institution would start working as a machine that produces connections and that eventually produces pieces of work inside an ongoing magma of thinking. But even that has a starting point and that point is always writing, writing a dialogue, between one and another self that might just be that strange person inside of outselfs. That`s when an idea of subjective paranoia starts acting out and creates new connections of meaning that unravel until it takes the usual shape of false theory and depressive strangement.
A series of small episodes called The Obstruction in which every time a man tries to say something he sees himself confronted to the genital parts of a public sculpture which creates an idea of obstruction in him he cannot overcome and little by little starts feeling worse and worse while he tries to develop his ideas on economy, offer and demand, pharmaceutical industry and rebellions in airports.