Works & Projects


Recordatio is a project that explores memory and refers to the act of remembering. It takes as its starting point a process of investigation and recovery of footage of my family archive, to find a common ground between their personal stories and the collective process of bringing to mind something that is no longer there, and it seems disappeared. The images become momentary flashes of memory, which hide and reveal. Memory and forgetting are combined in an ephemeral score, which gradually allows a glimpse and evoke what might seem episodes of a life, inviting contemplation as an analogy to the remembrance process.
This installation consists of an electrical automation system, which allows the photographs to react chemically, appearing and disappearing gradually.


Tropicalidad is a work that establishes a dialogue between the different ideas and imaginaries  about  “the tropics”,  as a dimension that refers to the Latin American. This video  questions the notion of territory, its processes of definition and construction, though the ways it is inhabit, perceived and interpreted.

The piece emphasizes the collective imaginaries that has been generated about these places, criticizing the geographical deterministic vision that prevails in the West, through which Latin America and the Caribbean are considered underdeveloped, viewed under a fatalistic lens as intertropical regions.

The tropic is set as an exotic place, infested by hybrid animals appropriated of the landscape, that inhabit the space through their strange sounds and actions.


Colectarea de Fragmenta was a research project developed in Bucharest, Rumania during a residency period in 2013, as a fellowship of Fondazione Fotografia di Modena, with the collaboration of Bucharest Air and Spatiul Plataforma of The Museum of Contemporary art of Bucharest and the C.N.S.A.S archive.

The project took the form of a public performance with kids, on how Romanians deal with their historical memory.

“In the history of Romania there was a regime, we had a dictator his name was Nicolae Ceaușescu he was our president, there was also some guys call securitate and they were like a secret police,  they used uniforms and sometimes people were survillied…” .[1]

The starting point was: How do you approach politics, with kids of 9-13 years old?, when you are going to talk about dead, as a political action or gesture, Death as a way out of a country without freedom, as an alternative to the madness. Colectarea de Fragmenta was a sort of theatrical piece, inspired in Herta Müller novel “Herztier”. Three acts in which the scene becomes the place were “things that we want to change are mixed with things that we have to accept”.

It was a collective process of creation, in which the basic idea was to exchange ideas and thoughts, to create bonds, reflections and question. The movements were easy and simply, the text was more complex.

The performance was a sort of mise en scene of different ideas, bond together through movement, were suggestions that invite to draw a reflection, memories of someone that were writing in a file, folder and diary.

[1] Interview with the kids during the rehearsal program.


The end of a love story, all of a sudden, becomes an excuse to inquire about the destiny, and the end, an occasion to rip from everyday experience, hopes, salvations, little revelations. The Apocalypse hides the answers that the protagonist relentless search. Driven by the desire to know and understand, she looks in every way how to decipher the code and reveal the epiphany, the enigma of the events divinely foreordained. The fate of humanity contained in this passage of the Bible, becomes a metaphor of love as the impetus that drives us into the unknown, making us abandon our conscience to rely on another. The imminent end predicted by the Maya on December 21, 2012 , becomes a warning of a sudden and inevitable fact, the epilogue of love and the end of life. The narrative is constructed through foundfootage, reflection, speculation, and audio and video interviews with astrologers, astronomers, preachers of various orders or sects.

The experience of the protagonist becomes an excuse to remember facts such as the mass suicide of Jonestown, Waco, Heaven’s Gate and the different predictions of imminent disaster we will suffer. A story that takes place parallel to another, in it nothing is already predetermined but our actions are the ones that will define the outcome. The main character, the narrator, perhaps discover that love and the apocalypse, are not checkpoints, but they are turning points, starting points …. And I saw a new heaven and a new earth, because the first heaven and the first earth had passed away …


Mi Lengua was a one year project done with the Collaboration of the Museum of Colonial Art of Bogotá, the Nasa and Pijao community of Usme and with the support of Fondazione Fotografia of Modena.

Every language is a set of possible worlds and geographies of memory, when a language dies, a possible world dies.[1]

This project was focus on a research about the situation of indigenous languages in Colombia. Working with a Nasa indigenous leader, I developed a video work based on the function of language during the process of evangelization of the natives in Colombia in 1500. Using the simultaneous translation as a process of transformation, the Spanish becomes again a secondary language, been re-colonized by the “nasa yuwe” indigenous language spoken only by the ethnic group Páez. In the video the sound and the action becomes a metaphor for the loss of roots and identity, as a result of a mechanism of cross-cultural and adjusting to a new culture, a new language and a new religion.


[1] G.STEINER, After Babel, Garzanti, p.35.


The work was born from our fascination with dialects, the mechanisms and the essence of translation. This particular work was inspirited by an ancient tale in dialect, which today is still narrated in the Mantova and Brescia regions. It is part of the oral tradition but not of the written one.
Using the method of simultaneous translation from the original language into our mother tongues (Spanish and Italian), we tried to underline the process of codification, de-codification and sequentiality of language (in this case dialect), as a reminder of the mechanism of oral narration, in which stories mutate and transform from subject to subject, as language mutate when it’s submitted to translation (change of sound, rhythm, sometimes also meaning).
This audio piece focuses on how to conserve the margin of uncertainty and improvisation that characterized this kind of narrative form – it became a sort of linguistic sport; a new folk play.

Sciogli la lingua tra i rovi became a etching book, call CIRIBICI, the first of a series of books base in popular european stories.


Therefore is the name of it called Babel; because the Lord did there confound the language of all earth: and from thence did the Lord scatter them abroad upon the face of all the earth.

Genesis 11:1-9

The Tower is a video that analyzes the origins of language through the religious myth of Babel. At the beginning they had one language and they were one culture, but now only the same story, makes them overcome their differences and converge if they were the same.


Three artists of different nationalities, speaking three different languages (without a script) try to communicate and to discuss about the function of art for them.

Let me explain you the function, is a metaphor about the difficulty of comprehends a language that you do not speak, in this particular case the “language of art”.

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