Most of my work is intrinsically linked to the development of collective, self-managed art projects in Latin America. As a response to the decay of existent cultural infrastructure, and from a critical position that aims to reconsider the legacy of institutional critique, my interests regarding the creation of inde- pendent art platforms is not only questioning the way we imagine and build those structures, but also to rethink their role before the current political reality. It is also about how to use history to interrogate the present and how to let the present talk back to History. Against neoliberal institutional standardization, autonomous art platforms investigate alternative methodologies, hypothesis and theories, that attempt to redefine the meaning of cultural engagement and how to reshape critically the public sphere. It de- mands also collective cooperation and the development of experimental social networks and micro-po- litical technologies that goes beyond the State in order to contribute to local struggles and to intervene in a specific context.
Some of the projects I’m involve as an organizer are the Paraguay Printed Art Fair, dedicated to the pre- sentation, distribution and sale of artist’s books, fanzines, posters and prints, and La Ene Museum, an experimental museum and art collection in Buenos Aires that I co-founded in 2010. Paraguay Printed Art Fair born with the aim of creating alternative platforms of exchange and circulation of independent creativity. It is a stage for critically and politically thinking and an opportunity to create and distribute the kind of content that specific communities want to hear, without traditional restrictions and regu- lations faced by the mainstream press. In a different direction, Nuevo Museo Energía de Arte Contem- poráneo (commonly know as La Ene Museum) propose a whole revision of the parameters of the hege- monic model of the museum as such. La Ene is an open and expansive museum based that could occupy different spaces in Argentina or abroad. Its collection is stored in a digital memory and the pieces are reproduced every time an exhibition is organized. The project takes a position towards the possibility to decolonize art institutions, attempting to have an effect in the way critical contemporary art is received and discussed upon the local context.
Also during 2012 and 2014 I also co-founded and run two exhibition spaces called Inmigrante [Immi- grant] and Urgente [Urgent]. Both of them acted as meeting points for orphan art practices, that is, ex- perimental projects that didn’t have any local attention or support. All these experiences are translated and transferred into my current artistic and curatorial work in different ways. Some projects that I’m developing now come straight from there, while some others are experiments connected with collective efforts, as a chain of reciprocal nourishment.