a few exhibitions

Some lastest exhibitions

SNAV- 2020/21

Curator in chief of the National Award of Visual Arts and jury for selection and awards. Exhibition of 264 pieces, 60 installations in the CCK- Kirchner Cultural Center and the Bicentenary National House.

Since its creation in 1911, the SNAV created An artistic pole in the capital city of Buenos Aires that later obtained federal scope. This decentralization requires sustained policies that are permeable to the circumstances of each moment. This Award, crossed by a global pandemic in addition to specific problems, points three central issues: federalization, equal representation in the selection and awarding of female, non-binary and trans artists, as well as the differences between discipline and technique versus artistic practice.

President first award to the best piece at the  National Salon Visual Arts: “Workers, Gabriela Golder, video installation.

Disciplines define a training model supported by Academies that structured their curricula to train specialists into each discipline. Artistic practice understands the process as a personal search where languages ??and disciplines are only tools to materialize a concept. Thinking in terms of practices allows us to open ourselves to new ways languages such as actions, performances, collective and community processes, etc. Practices that from disciplines perspective do not have a place within an institution like the SNAV that may include action, performances and other practices increasingly present in creative processes.

Second award at the National Salon Visual Arts:“Oriel” Jorge Mónaco, photography.

Recent investigations carried out on public collections in our country, such as the SNAV´s collection, have shown the inequity in the representation of female, trans and non-binary artists, as well as artists that live outside of the capital city. The Most important Public Collection in the country should be more representative of federal, female and dissident artists. This clear cut defined by the selections and awards of the SNAV throughout its history requires concrete actions that allow balancing this story, which has clearly favored male artists and those who produce in the capital of the country, naturalized privileges that are difficult to understand and harder to give in.

Second award at the National Salon Visual Arts “La intuición” Ana Benedetti, painting.
The SNAV, as a national institution, must represent and show the new practices, requiring constant updating regarding the problems artists leads with. Just as it must expand its representativeness towards new communities, artistic practices and contextual problems that must be included into the national art history written by this collection, the archive of our visual history.


Filiation – Augusto and León Ferrari, research on Augusto’s and León’s work, exhibition carried out with FAALFA_ Augusto and León Ferrari Foundation-  Art  and Acerbo

Mac Salta and Casa Arias Rengel Museum 2015 – Salta / Knowledge Center 2015 -Misiones /  CCPE- Cultural Center of Spanish Park 2016 -Rosario /  MEC- Museo Emilio Caraffa 2017- Córdoba. Argentina

                León and Augusto Ferrari- son and father
This exhibition tour begins in Salta many years before it was concrete, León was still alive when, to commemorate the bicentennial of the Battle of Salta, they asked me to investigate what had happened to a work of his father, 96 meters long by 11 meters wide that had made for the centenary. The painting was valuable because of its realism; Augusto carried out extensive research previously to the realization of his panoramas: Messina, Salta, Tucumán and Bahía Blanca, were carried out by him. For the Battle of Salta he travels to the city, takes photos on the ground, portrays local characters and registered him riding a brave horse, making multiple sketches prior to the painting that clearly differentiates as his work. 
Structure for a Diorama:  The struggle of Salta - 96 meters long by 11 meters wide
The panoramas or dioramas were monumental size paintings correlated to the beginnings of photography and the scenography staging of the early nineteenth century that responded to man's desire to capture reality and freeze time. Somehow they anticipate what later became cinema as a paid and massive entertainment and the unbelievable installations made by current artists. What´s work and what´s a sketch from Augusto´s and León´s perspective establishes a starting point for us to understand the different art moments both go through. In León's work we will hardly be able to establish these categories; the tests and experimentations are his works, without being able to establish a clear limit, process is work. This for Augusto was inadmissible; sketches, photographs and hand-drawn plans were mere approximations of what he was looking for.
As Augusto would say "he was a Renaissance man" who had to go through the century of the avant-garde, defending his interests rooted in realism, research and previous study. Photography for Augusto was a minor language, almost a freehand sketch. Today his photographic work reveals great historical and aesthetic value. The passage from photography as mere recording to a highly valued language within the world of art allows us to discover in Augusto's sketches a marvelous work  itself. His passion for history is evident in the construction of churches, which he did not only to support his family, but also allowed him to investigate man from his most subtle side. The history of religion is the history of men and this is demonstrated in his incredible achievements: San Miguel in CABA, The Capuchinos in Córdoba are just an examples of the multiple works and projects he carries out for the Catholic Church. Without being religious, this stage allows him to deepen his studies and continue producing a work that for him was only achieved in these large dimensions. The investigation of history through the church is something that León continues from various later approaches, it is perhaps a line that we can follow to begin to establish this dialogue that we have the pleasure of witnessing today. At first glance they may have opposite positions, but in reality both were observers of history and the church was a platform to show their interest, deeply rooted in the human being.
Overcoming prejudice in León's work is almost mandatory in this journey that shows it to us in a structural way, by knowing his father's work we discover where his strength, his conviction, his certainty comes from. The skull that opens the dialogue was in Augusto's studio, he painted it several times already approaching death, surely reflecting with the painting on it. León intervenes this object, to speak from a very personal place about death as a political strategy that involves the interests of capitalism over the interests of men. León goes through another time of art and history, he must go into exile during the dictatorship in Brazil; he approaches and moves away from art during some periods where he cannot produce, then his spirit resumes its luminous, powerful, original form that he clearly appreciates as a legacy from his father.
León shows a deep love for the human being, his permanent strategy of visibility of those practices carried out in the name of the church or democracy that contradicts their entire operating scheme. León is a voice that speaks for the multiple victims of these acts. Defender of human rights who militates from his work, attacking those humanitarian actions that simulate his true manipulations through institutions that become complicit in accepting the material interests of a few over the interests of the human being as such.

Augustus was a survivor of his own history, a natural son raised by a wet nurse in a rural village in Italy; belatedly recognized by his father, an Italian merchant who appears already in his early teens to give him his last name. Ferrari does not respond to this rural education, his multiple and advanced studies do not reflect his childhood. His father appears when he should go to university and demands that he study architecture, given his deep desire to go to it. Therefore, he first studied architecture and then pursued an artistic career, this mandatory job that would allow him to support his family, he also imposes on his son. León studied engineering before showing any interest in art. Many times the engineer signed the plans of the Italian architect, who had not revalidated his title in Argentina, it is almost a mockery of fate that León has signed ecclesiastical projects. But it is actually there where he begins his own works that are closer to the conceptual language than to the technical realization of his father, careful to capture realism with his gigantic interpretations of history and religion.
 León accepted early that he did not have the same skills for drawing and painting, much less for undertaking tremendous works of painstaking manual labor. His own history leads him to address new languages, his present rebukes him and brings him closer to a conceptual synthesis that reflects more a critical manifesto of his time rather than a laborious painting. León's art is clearly political, especially in its beginnings, which are crossed by training in a German school during Hitler's preparation for the seizure of power and the Jewish extermination plan of Nazism, the experience of the dictatorship and exile. they affect him directly and the exorcism of evil is carried out through his collages, his drawings, his manuscripts and interventions.
León had to situate himself in the present, although he returns again and again to his father's work, he reinterprets it through experimentation with new languages ??and new political-ideological positions.

The Ferrari´s family has Augusto as its starting point, a survivor of his own history who manages to reverse his destiny, he himself arrives from Italy with his daughter Augusta, history repeats itself but he reverses it, raising his first daughter alone until the arrival of Celia, the great love that would accompany him throughout his life. 

Since Augusto, a family precedent has been established that instigates to investigate the human being, to strengthen the bond and to remain even today as a strong clan nucleus, a cabal that extends to the present through his grandchildren and great-grandchildren, of love and rereading of the work of both.
Wind Boundaries. Dialogue between Soledad Sánchez Goldar and Lucas Di Pascuale. ROJO art producer. Cordoba. 2015
This installation began with a notebook that was passed from one to the other; tracing coincidences, traces and subtleties before becoming corporeal. One action led to another and each gesture to the domestic beauty where the sense of time resides.
 The idea of ??a work "for two" was based on certain affinities that both have been making evident, responding to a certain authorship that recognizes references, links and dialogues as an elementary part of the work. Thinking about it not from its materiality but from its capacity for action and reflection, approaching languages ??that have to do with time as a variable that transversally crosses our perception of reality.
The process was slow but the time of delay, the suspension points, or the silences did not frighten; this slowness was doing something exquisite. An edition of thoughts on stage.
Horizontal, doing in pairs, are verbs that Lucas and Soledad have been exercising as a personal policy against the verticality of the outrage, of overlooking, of oblivion.

Horizontality opens to the other. It is here and now. You have to read, stop. Take part.
 Will it be possible?
History and politics as experience, as personal space; without judgements, adhesions or statistics. Share. We share historical context and experience a certain perception of time. Legitimate exercise of dialogue, in pairs. Tautologically. Crossed by politics and subjectivity of poetry.
If there is contemporary poetics, it is through language where the embroidery of the pencil, the line of the body, the literature of the image are no longer distinguished. An approach to get closer to the configuration of our contemporary thought. Action, gesture and words are memory.
I deeply rescue the simple horizontal gesture of the story as a political position in front of the world and its vertical rules. A useless and absurd gesture against the massive noise, resisting time.
Whispering they speak and understand each other. It was not necessary to exercise power.

PROJECT ESTAR, RESEARCH ON INDEPENDENT MANAGEMENT IN THE VISUAL ARTS IN CÓRDOBA. Eggo · Art Market · Bonino Zone- Documentary independent management, curatorship. Martin Sappia Edition



Collections program  for the contemporary art museum

* Project The collector as curator I: WIP of the James Turrell Museum of the Hess Collection in Colomé curator of the retrospective exhibition of the museum construction process around the profile of the collector. mac – Museum of Contemporary Art of Salta – July 2009- Salta, Argentina.

James Turrell y Donald Hess at  Colomé´s opening

The creation of this museum 200 km from the capital of Salta generated a specific point of balance between what had been established as a production of local nuances and a production that clearly represents the language of current art on a global level. A reference in an exclusive international circuit related to art and wine, Donald Hess acquires the Bodega Colomé estate and builds the James Turrell Museum of the Hess Art Collection there. International contemporary art of the 20th century, a Museum constructed for the 9 installation Hess was buying to Turrell from the 70´s, located in the Calchaquíes valleys.

James Turrell´s Museum at Colomé, Salta. Argentina.

It was then that I proposed as a curatorial project from the mac to evaluate how the existence of this space so close geographically could strengthen and clarify these points of reflection that had been installed between the global and the local, the central and the bordering.

The 1200 m2 museum involved the highest architectural and lighting technology in its construction, it is built from the project of 9 installations by the artist James Turrell, acquired over 30 years by the collector Donald Hess. This process evidences a specific criterion for monitoring the artist’s work over the years. The Donald Hess collection includes no more than 30 artists that he has collected over the last 40 years; being able to generate in time a cut and a reading of the works. From this, the title of the project “The collector as curator” was proposed and the exhibition was produced, exhibiting the process of creating the museum from Hess’s collecting criteria over the years.

Sky Space, by James Turrel . Colomé. Salta, Argentina.

Interviewing all the actors involved in the construction of the space that exhibits these 9 light installations and works on paper by Turrell, proposing a reading through this fragmentation of the author who delegates to various specialists; these start their projects; Added to the complexity of installing this work in a space as inaccessible as Colomé, we discovered why Turrell’s work was perfect for a space where we can only see the earth and sky.

Unseen Blue , by James Turrel . Colomé. Salta, Argentina.

* Project The collector as curator II: Collection of contemporary art of José Luis Lorenzo Artists: collective .mac – Museum of Contemporary Art of Salta – 2010- Salta, Argentina.

Ananké Asseff, CABA. Colección José Luis Lorenzo.

Starting from an evident situation regarding the scarce and conflictive panorama of the existing art market in the Cities of the Interior of Argentina, especially regarding the collecting of local artists, it is encouraging to work with a Collection that in some way proposes a parallel reality and builds a defined look in reference to the current art of Córdoba.

José Lorenzo’s collection has been consolidated in recent years with a clear criterion of support for some Cordovan artists who are currently producing. Starting a couple of decades ago to collect objects and pieces of art, this architect started his Collection from the purchase of silverware, ritual or representative masks of original ethnic groups, ancient fabrics of high symbolic value, as well as some acquisitions of sacred art. From this need to collect significant objects, whether for their historical, religious or ritual value, Lorenzo approaches his immediate context with the same gaze, initiating a dialogue that has deepened over the years with a group of artists linked to the city where he resides: Córdoba.

Jose Luis Lorenzo and Atilio Bugliotti, Collection’s from Córdoba and the collection´s advice : Gabriel Valansy

Hugo Aveta, Córdoba. Colección José Luis Lorenzo.

** Project The collector as curator III:  Colonial Hotel Award, produced by a private collector who wanted to buy young artists. Two editions, 2010-2011. Salta, Argentina. This action was because we have an scarcely art market and we need to promote the collections to buy local artists and goes along with them.

Marcela Lopez Sastre and colector Luis Escoda, colector.

Artists selected- first edition

1- Abud, Marcelo 2- Arias Rolando  3- Aybar  Evangelina  4- Albornoz, Dario 5-Arrascaeta, Diego 6-Alejandra Silva  Daniela 7-Barcena Claudia 8-Benedetti Ana María  9-Bliman Giselle  10-Bodelón Lucila 11-Bravo Mario Alfredo  12-Campos, Mónica 13-Cañás Rodrigo 14-Carón, Josefina 15-Chaile Gabriel  16-Curuchet Pablo 17-Chiachio.Giannone Leo.Daniel 18-D’Amato Mateo Emiliano 19-Dahbar Soledad  20-Del Río Claudia   21-Fernández Andrea 22-Ferrari  Mariana 23-Frías Alfredo  24-Galera Celina  25-Galíndez  Diego 26- Galván, Alejandra 27-Gómez Tolosa  Alejandro  28-Grillo, Carolina 29-Javier Soria Vázquez   30-Mizrahi Alejandra 31-Nacif Bruno 32-Ozuna Mario 33-Pellegrini Leonardo 34-Ramos Roxana  35-Romero Belén 36-Sagardoy Analía 37-Vivas Florencia 38-Jorge Martin  39-Messina,Gabriela 40-Montaldi, Virginia 41-Salfity, Ivana  42- Yannitto, Guido

Artists selected- second edition

1-Aberastury, Gabriela 2-Abud, Marcelo 3-Arias, Rolando 4- Anaut, Julieta 5-Arguello Pitt, Teo 6-Batalla,Juan 7-Balza,Juan 8- Bellomo, Javier 9-Bernardi, Luis 10-Casarino, Claudia 11-Curutchet, Pablo 12-Chaile, gabriel 13-Di Toro, Verónica 14-Elbert, Tali 15-Fuertes, Jimena 16-Gomez Tolosa, Alejandro 15-Gonzalez Goytia, Agustín 18-Grillo, Carolina 19-Guzmán, Mauro 20-Izuel, Estela 21-Rolo Juarez 22-Silvana Lacarra 23-Pablo Lozano 24-Maggi, Valeria 25-Mirabella,Rosalba 26- Montaldi, Virginia 27-Otegui, Paula28- Pellegrini, Leonardo 29-Pastorino, Sebastián 30-Peisino,Pablo 31-Romero Gunset, Belen 32-Vidal,Mariana 33-Yannitto,Guido

The Hotel Colonial, located in the heart of the city of Salta, has been a permanent supporter of local art and culture. In its 70 years of existence, it maintained an attitude that was permeable to its context, facilitating everything within its reach to generate and promote actions linked to the growth of its community.

Openning 2nd edition, 2010.

The support for certain artists of the 50’s generation led to a small but exquisite collection of works donated by the artists in gratitude to the hotel owner. These scattered actions focused on a clear line of work starting with the creation of the Visual Arts Award, through which the acquisition of works is updated, expanding the collection to current proposals that go beyond the romanticism of modernity.


* Incorporation of the Salta scene to the collection of the Museo Castanigno + MACRO in Rosario de Santa Fe. Curation of the sample in the mac Salta in February 2009 and sending of a donation of the work of 21 Salta artists. . mac – Museum of Contemporary Art of February 2009- Salta, Argentina 2008

* Sustain the Void– Artists: Soledad Sánchez Goldar, Jorge Martin, Hugo Aveta, Manuel Pascual, Gerardo Repetto, Ana Gilardi and Ilze Petroni.

Novice Curators. Hibrido y Puro Award – CCEC-Centro Cultural España Córdoba, award jury: Eva Grinstein (Buenos Aires), Ticio Escobar (Paraguay), Ricardo Basbaum (Brazil) and local curators Carina Cagnolo and Tomás Ezequiel Bondone.


* Coordinator and Co-Curator of the Itinerant Exhibition Pa (i) sajes – Norte Argentino Arte Contemporáneo. Personal project of cultural management, for which he invited the Curator Adriana Almada, the exhibition travels through Paraguay and North-Central Argentina