Graciela Sacco

Rosário, Argentina

(1956-2017)

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One of the main names of contemporary Argentine production, artist Graciela Sacco (Rosario, Argentina, 1956) is recognized for works developed with innovative techniques of photosensitive printing, which allow for the recording of images in unusual media. Influenced by the Latin American conceptualism of the 1960s, among them the Tucumán Arde collective, her production has a strong political implication. The relationship between memory and photography is another theme strongly explored by the artist. In videos, installations and urban interventions, in addition to the heliographies in different materials, she examines the tensions between art and society and deals with issues such as displacements, migrations, exiles and the contemporary diaspora.


Graciela has represented Argentina in various international biennials, such as: Venice (2001), São Paulo (1996), Havana (1997 and 2000), Mercosul (1997), Shanghai (2004) e Ushuaia (2009). She has also participated in solo and collective exhibits in countries such as England, Germany, France, Israel, The United States, Brazil, Colombia and Peru.


Her work is present in important international collections such as: MAMBA (Museu de Arte Moderna de Buenos Aires), Argentina; MACRO (Museu de Arte Contemporáneo de Rosario), Argentina; Bronx Museum (New York, USA); MFAH (The Museum of Fine Arts, Houston), USA; Museum of Art of Fort Lauderdale, USA; the Microsoft collection, Washington, USA; Essex University, Colchester, England.

CV

Graciela Sacco
Rosário, Argentina
(1956-2017)


.Formação e atuação acadêmica [Education and academic activities]


1987
.Artes visuais [Fine Arts]. Universidad Nacional de Rosario


1987-1997
.Professora do Taller de Arte Experimental (TAE) na Escola de Bellas Artes, Universidad Nacional de Rosário


Participações em bienais internacionais [participation in international biennials]


2009
.2a Bienal Internacional de Arte do Fim do Mundo .Ushuaia, Argentina [2nd End of the World International Art Biennial].


2004
.5a Bienal Internacional de Arte de Shanghai. Shangai, China [5th Shanghai International Art Biennial].


2001
.49a Bienal Internacional de Veneza. Veneza, Itália [49th Venice International Biennial]
. 9a Bienal Internacional de Fotografia do México. Caracas, Venezuela. [9th International Photography Biennial of Mexico].


2000
7a Bienal Internacional de Arte de Havana. Havana, Cuba [7th Havana International Art Biennial].
9a Bienal Internacional de Fotografia. Cidade do México [Mexico City], México [9th International Photography Biennial]
9a Bienal Internacional de Fotografia de Vigo [9th Vigo International Photography Biennial]. Vigo, Spain.


1997
1a Bienal Internacional do Mercosul. Porto Alegre, Brasil [1st International Mercosur Visual Arts] Porto Alegre, Brazil,
6a Bienal Internacional de Arte de Havana. Havana, Cuba [6th Havana International Art Biennial].


1996
23a Bienal Internacional de Arte de São Paulo. São Paulo, Brazil; [23rd São Paulo International Art Biennial].


Exposições Individuais [Solo Exhibitions]


2014
.Graciela Sacco: Nada está donde se cree … exposición antológica, [Graciela Sacco: Nothing Is Where it Seems to Be…, anthological exhibition], Centro de Arte Contemporáneo of the Muntref, venue: Hotel de Inmigrantes. Buenos Aires, Argentina,


2013
.Graciela Saco: Tensión admisible [Graciela Sacco: Admissible Tension], AD &C Contemporary. Los Angeles, United States.
.Graciela Saco: Tensión admisible [Graciela Sacco: Admissible Tension], Galería del Paseo. Punta del Este, Uruguay,


2012
. Graciela Sacco: ¿Norte o Sur?, Lima, Peru [Graciela Sacco: North or South?] Museo de Arte Pedro de Osma. Neuquén, Argentina, Graciela Sacco: Body to Body, Museo de Arte Contemporáneo de Neuquén.
.Graciela Saco: Tensión admisible [Graciela Sacco: Admissible Tension],Centro de Expresiones Contemporáneas (CEC), Rosario, Argentina.
.Graciela Sacco: Cuerpo a cuerpo [Graciela Sacco: Body to Body], Franklin Rawson Art Museum. San Juan, Argentina,


2011
.Graciela Saco: Tensión admisible [Graciela Sacco: Admissible Tension], Buenos Aires, Argentina , Parque de la Memoria.
.Graciela Sacco: Cuerpo a cuerpo [Graciela Sacco: Body to Body], Espacio Contemporáneo de Arte (ECA ), Mendoza, Argentina.
. Graciela Sacco: Cuerpo a cuerpo [Graciela Sacco: Body to Body], Santa Fe, Argentina, Museo Provincial de Bellas Artes Rosa Galisteo de Rodríguez.
. Graciela Sacco: Cuerpo a cuerpo [Graciela Sacco: Body to Body], Museo
Provincial de Bellas Artes, Entre Ríos, Argentina.
. M2: TA (Metro cuadrado: tensión admisible) [M2: TA Square Meter: Admissible Tension], Diana Lowenstein Fine Arts Gallery, Miami, United States, Graciela Sacco,


2010
. M2: TA (Metro cuadrado: tensión admisible) [M2: TA Square Meter: Admissible Tension], Centro Cultural Parque de España, Rosario, Argentina.
. Proyecto Costa da Morte, Cualquier salida puede ser un encierro. [Costa da Morte Project, Any Exit Can Be a Dead End], Finisterre, España.
. Arte en la torre: Graciela Sacco M2 [Art in the Tower: Graciela Sacco
M2], YPF Foundation, Buenos Aires, Argentina.
. Graciela Sacco M2, Haim Chanin Fine Arts, Paris, France.
. Cualquier salida puede ser un encierro, [Any Exit Can Be a Dead End], installation,
Museo de Arte Contemporáneo de Rosario (Macro), Rosario, Argentina.


2009
.De la serie M2: Cuánto es un metro cuadrado de espera? [From the Series M2: How Much Is a Square Meter of Wait?], Galería C5/ La Factoría, Santiago de Compostela, Spain.
. M2: Tierra prometida, objetos lumínicos, [From the Series M2: Promised Land,
luminic objects], Gilberto Alzate Avendaño Foundation, Bogotá, Colombia.
. ¿Cuánto es un metro cuadrado de pensamiento? [How Much Is a Square Meter of
Thought?], Centro Cultural de España-Córdoba, Córdoba, Argentina


2008
. De la serie M2 [From the Series M2: T4, video installation], Centro de Expresiones Contemporáneas and Museo Municipal de Bellas Artes Juan B. Castagnino, Rosario, Argentina.
. Historias del M2 (metro cuadrado) [M2 Stories (Square Meter)]. Minimal Vital Space, photographic installation, video and shadows, Diana Lowenstein Fine Arts Gallery, Miami, United States,


2007
M2 – Espacio Mínimo Vital [M2—Minimal Vital Space]—, photographic installation, video and shadows, Fondazione Volume!, Rome, Italy,


2006
. Sombras del Sur y del Norte [Shadows from the South and the North], installation in the permanent collection of the Museum of Fine Arts, Houston (MFA H), Houston, United States.
. Conversaciones [Conversations], photographs and installations, Pan American Art Projects, Dallas, United States,.
. De la serie Sombras del Sur y del Norte [From the South and the North Series], installations, photographs and objects, Auditorio de Galicia, Santiago de Compostela, Spain.


2005
. Sombras del Sur y del Norte [Shadows from the South and the North], video installations, photographs and objects, Diana Lowenstein Fine Arts Gallery. Miami, United States,
. Sombras del Sur y del Norte [Shadows from the South and the North], video installations, photographs and objects, Haim Chanin Fine Arts. New York, United States,
. Sombras del Sur y del Norte [Shadows from the South and the North],
Stephen Cohen Gallery, Los Angeles, United States.


2004
. Outside, objects and photographs, First New York International Photography Exhibition, Stephen Cohen Gallery, New York, United States.
. Sombras del Sur y del Norte [Shadows from the South and the North], installations, videos and photographs, New World Museum. Houston, United States.
. Sombras del Sur y del Norte [Shadows from the South and the North: An Essay on Waiting, installation, Museo de Arte Moderno de Buenos Aires. Buenos Aires, Argentina.
. Art Miami Project Room, presented by Berkeley Square Gallery (London), and World House Gallery (New York). Miami, United States,
. Shadows from the South and the North: Outside, installation, International Light Festival, Centro Cultural Recoleta. Buenos Aires, Argentina.
. Entre nosotros [Among Us], Muralla Bizantina and urban interference in the city. Cartagena, Spain.


2003
Sombras del Sur y del Norte: Vistos [Shadows from the South and the North: Seen], video interference on the facade of the Maison de l’Amérique latine and installations. Paris, France.


2002
. Transitions, installation, objects, World House Gallery. New York, United States,
. Bocanada [Mouthful], urban installation, Garonne Festival. Toulouse, France.
. New Internationalism, light environment in the exterior of the Kunsthallen Braenderigarden building, Gaard Cultural Center for Contemporary Art. Viborg, Denmark.
. Graciela Sacco: Entre Nós [Graciela Sacco: Among Us], installation and objects, Scolar Fine Arts Gallery and Berkeley Square Gallery. London, England,
. Art Miami Project Room, presented by Berkeley Square Gallery (London) and World House Gallery (New York). Miami, United States,


2001
. Bocanada [Mouthful], installation, Museum of Art (MoAFL ). Fort Lauderdale, United States.
. Orden Público [Public Order], photographs, installations and objects, Art Museum of the
Americas – OAS. Washington, United States,


2000
. Outside, installations, Diana Lowenstein Fine Arts Gallery. Buenos Aires, Argentina,
. Outside, installations, Museo Municipal de Bellas Artes Juan B. Castagnino. Rosario, Argentina,
. Outside, photograph, video, installations, objects, Massachusetts College of Art (MassArt). Boston, United States.
. Outside, photograph, video, installations, objects, Argentine Consulate and World
House Gallery. New York, United States.


1999
. Sombras del Sur y del Norte [Shadows from the South and the North], permanent installation, School of Arts and Humanities at the Universidad Nacional de Rosario. Rosario, Argentina.
. Un lugar bajo el sol: III [A Place under the Sun: III], photograph and installations, Cultural Center of the Alliance Française. Quito, Ecuador.


1998
. Un lugar bajo el sol:II [A Place under the Sun: II], installation, Museo Nacional de Arte Moderno. Guatemala City, Guatemala.
. Un lugar bajo el sol [A Place under the Sun: I], installation, World House Gallery. New York, United States.


1997
. Graciela Sacco: Instalaciones e interferencias urbanas [Graciela Sacco: Installations and Urban Interferences], European Festival dedicated to Latin America, Kvindemuseet. Aarhus, Denmark.
. El incendio y las vísperas, Bocanada y Esperando a los bárbaros [The Fire and the Vespers, Mouthful, and Awaiting the Barbarians, installations]. Presentation of the Argentine participant in the 23rd São Paulo International Art Biennial, Centro Cultural Parque de España. Rosario, Argentina.
. El incendio y las vísperas, Bocanada y Esperando a los bárbaros [The Fire and the Vespers, Mouthful, and Awaiting the Barbarians, installations]. Banco Patricios Foundation. Buenos Aires, Argentina.
. El incendio y las vísperas, Bocanada y Esperando a los bárbaros [The Fire and the Vespers, Mouthful, and Awaiting the Barbarians, installations]. Bahía Blanca, Argentina.
. El incendio y las vísperas, Bocanada y Esperando a los bárbaros [The Fire and the Vespers, Mouthful, and Awaiting the Barbarians, installations]. Casona Municipal, Córdoba, Argentina.
. Lanzapiedras.[Stone-throwers, urban interference],Capitólio Policultural. Porto Alegre, Brazil.


1995
. Mouthful, heliography, Ruth Benzacar Gallery. Presentation of the book Escrituras solares. La heliografía en el campo artístico (Sun Writings. Heliograp y in the Artistic Field). Buenos Aires, Argentina.
. Bocanada [Mouthful], heliography, Centro Cultural Bernardino Rivadavia. Rosario, Argentina.


1994
. Bocanada [Mouthful], postal action, Museo Municipal de Bellas Artes Juan B. Castagnino. Rosario, Argentina.
. Bocanada [Mouthful], heliography, Museo Municipal de Bellas Artes Juan B. Castagnino. Presentation of the book Escrituras solares. La heliografía en el campo
artístico. Rosario, Argentina,


1993
Ventanas - Seis y un remordimiento para el cielo [Windows - Six and One Regret for
Heaven], installation, Casal de Catalunya. Buenos Aires, Argentina.


Intervenções urbanas [Urban Interferences]

2012
. San Juan, Argentina, Bocanada [Mouthful], intervenção urbana na fachada do edifício do Museo Franklin Rawson [urban interference on the facade of the building of the Museo Franklin Rawson]

2011
. Mendoza, Argentina, Graciela Sacco: Corpo a corpo [Graciela Sacco: Body to Body], Espacio Contemporáneo de Arte (ECA).

2010
. Londres, Inglaterra, M2, Open House, projeção urbana [urban projection]
. Buenos Aires, Argentina, Bocanada [Mouthful], portal sobre avenida 9 de Julio, Paseo del Bicentenario [gate on 9 de Julio Avenue]

2009
. Austin, Estados Unidos, Metro quadrado [Square Meter], projeção [projection], Biblioteca Pública de la Universidad de Austin [Fine Arts Library at the College of Fine Arts, University of Texas at Austin].

2008
. Rosario, Argentina, De la serie M2: T4 [From the Series M2: T4], vídeo intervenção [video interference], Museo Castagnino+macro.

2007
. Roma, Italia, De la serie M2: M2 [From the Series M2: M2], vídeo intervenção [video interference], Fondazione Volume!

2003
. Paris, França, Sombras do Sul e do Norte: Vistos [Shadows from the South and the North], vídeo intervenção sobre a fachada da Maison de l’Amérique latine [video interference on the facade of the Maison de l’Amérique latine].

2002
. Toulouse, Francia, Bocanada [Mouthful], instalação urbana [urban installation], Festival Garonne.

2001
. Veneza, Italia, Entre nós [Among Us], intervenção urbana nas ruas de Veneza; 10.000 pares de olhos instalados em toda a cidade durante a 49ª Bienal Internacional de Veneza. Representante argentina [urban interference in the streets of Venice; 10,000 pairs of eyes installed all over the city during the 49th Venice Biennial. Argentine representative].
. Buenos Aires, Argentina, Entre nós [Among Us], intervenção urbana [urban interference]; 1.000 pares de olhos instalados na Plaza de Mayo, entre a Casa Rosada e a Pirámide de Mayo [1,000 pairs of eyes installed in Plaza de Mayo, between the Casa Rosada and the Pirámide de Mayo]

2000
. Jerusalém, Israel, Nômades: fronteiras [Nomads: Frontiers], intervenção urbana em espaços públicos; 1.000 olhos impressos sobre PVC transparente autoadesivo instalados nas ruas [urban interferences in public spaces. 1,000 eyes installed in the streets, printed on transparent self-adhesive PVC].
. Petra, Jordânia, Nômades: fronteiras [Nomads: Frontiers], intervenção urbana em espaços públicos; 1.000 olhos impressos sobre PVC transparente autoadesivo instalados nas ruas [urban interferences in public spaces. 1,000 eyes installed in the streets, printed on transparent self-adhesive PVC].
. Cairo, Egito, Nômades: fronteiras [Nomads: Frontiers], intervenção urbana em espaços públicos; 1.000 olhos impressos sobre PVC transparente autoadesivo instalados nas ruas [urban interferences in public spaces. 1,000 eyes installed in the streets, printed on transparent self-adhesive PVC].
. Vigo, Espanha, Sombras do Sul e do Norte: mar nosso [Shadows from the South and the North: Our Sea], intervenção urbana, 9ª Bienal Internacional de Fotografia de Vigo [urban interference, 9th International Biennial of Photography of Vigo].
. Havana, Cuba, Sombras do Sul e do Norte: mar nosso [Shadows from the South and the North: Our Sea], intervenção gráfica, 7ª Bienal Internacional de Arte de Havana [graphic interference, 7th Havana Biennial].

1997
. Havana, Cuba, El combate perpetuo [The Perpetual Combat], intervenção urbana [urban interference]; posters de 200 x 100 cm instalados em diferentes áreas de destruídas na cidade, 6ª Bienal Internacional de Arte de Havana. [200 x 100 cm posters installed in different collapsed areas of the city, 6th Havana Biennial].
. Aarhus, Dinamarca, Bocanada [Mouthful], intervenção urbana [urban interference]; 5.000 posters de 50 x 70 cm [5,000 50 x 70 cm posters interfering with urban graphics].

1996
. São Paulo, Brasil, El incendio y las vísperas [The Fire and the Vespers], intervenção urbana nas ruas [urban interference in the streets]; heliografia sobre papel, 550 x 220 cm, 23ª Bienal Internacional de Arte de São Paulo. Única representante argentina [heliography on paper, 550 x 220 cm, 23rd São Paulo Art Biennial. The only artist to represent Argentina].
. Rosário, Argentina, El incendio y las vísperas [The Fire and the Vespers], intervenção urbana nas ruas [urban interference in the streets]; heliografia sobre papel, 550 x 220 cm [heliography on paper, 550 x 220 cm].

1995
. Rosário, Argentina, Bocanada [Mouthful], vídeo intervenção [video intervention], praça do Centro Cultural Bernardino Rivadavia.

1994
. Rosário, Argentina, Interferencia urbana II, sinalização de escolas públicas (espaços em perigo de extinção). [Urban Interference II, signposting in public schools (spaces in danger of extinction)].
. Rosário, Argentina, Bocanada [Mouthful], intervenção urbana, instalação de 5.000 posters de 50 x 70 cm cada em cartazes de campanhas políticas em vias públicas [urban interference, installation of 5,000 50 x 70 cm posters on political banners in the street].
. Buenos Aires, Argentina, Bocanada [Mouthful], intervenção urbana. Instalação de 5.000 posters de 50 x 70 cm cada em cartazes de campanhas políticas em vias públicas [urban interference, installation of 5,000 50 x 70 cm posters on political banners in the street].
. Rosario, Argentina, Bocanada [Mouthful]. Intervenção urbana I [Urban Interference I].
. Buenos Aires, Argentina, Bocanada [Mouthful]. Intervenção urbana I [Urban Interference I].


Exposições coletivas selecionadas [selected group exhibitions]


2016
. "Uncertain States: Artistic Strategies in States of Emergency", Akademie der Künste, Berlim, Alemanha [Germany].
. "Soulèvements", Jeu de Paume, Paris, França [France].
.Imagem-movimento. Zipper Galeria, São Paulo, Brasil [Brazil]


2014
. Buenos Aires, Argentina, Ni vencedores ni vencidos [Neither Victors nor Vanquished], Museo de Arte Moderno de Buenos Aires (MAMbA).

2013
. Buenos Aires, Argentina, Luz envasada [Packed Light], Rolf Art Gallery.
. Buenos Aires, Argentina, Para todos los hombres del mundo[For All the People in the World], Museo de la Inmigración (Muntref).
. Nova York, Estados Unidos, Bocanada [Mouthful], ação urbana [urban action], Territorios y subjetividades [Territories and Subjectivities]. Arte Contemporáneo de la Argentina, Consulado Argentino.
. Paris, França, Bocanada [Mouthful], ação urbana [urban action], América Latina 1960-2013, Fondation Cartier.

2012
. Zurique, Suiça, Sur [South], Ivo Kamm Gallery.
. Buenos Aires, Argentina, Entre aguas [Among Water], Rolf Art Gallery.
. México D.F., México, Extranjerías. Cualquier salida puede ser un encierro [Any Exit Can Be a Dead End], Museo de Arte Contemporáneo de la Universidad de Nacional de México (MUAC ).

2011
. Leverkusen, Alemanha, Radical Shift, instalações [installations], Museu Morsbroich
. México D.F., México, Crisisss América Latina. Arte y confrontación: 1910-2010 [Art and Confrontation: 1910–2010], instalações [installations], Museo del Palacio de Bellas Artes.
. Berlim, Alemania, Realidad y utopia [Reality and Utopia], instalação [installation], Akademie der Künste.
. Buenos Aires, Argentina, Imágenes e historias [Images and Stories], Argentina de 1848-2010, videoinstalação [video installation], Centro Cultural Recoleta.
. Vigo, Espanha, Cualquier salida puede ser un encierro [Any Exit Can Be a Dead End], Proyecto Costa da Morte, Museo de Arte Contemporáneo.
.Santiago de Compostela, Espanha, Cualquier salida puede ser un encierro [Any Exit Can Be a Dead End], Proyecto Costa Da morte, Factoría Compostela, Galería de Arte.
. Finisterre, Espanha, Cualquier salida puede ser un encierro, Proyecto Costa da Morte, Museo del Fin del Mundo.

2010
. Londres, Inglaterra, Open House: Arte contemporâneo argentino [Open House: Contemporary Argentine Art], instalações [installations].
. Berlim, Alemanha, Realidad y utopia [Reality and Utopia], instalação [installation].

2009
. São Paulo, Brasil, Argentina hoy [Argentina Today], Centro Cultural Banco do Brasil.
. Rosário, Argentina, El incendio y las vísperas [The Fire and the Vespers], instalação [installation], Te saco el Pombo y te pongo el Sacco, Museo Municipal de Bellas Artes Juan B. Castagnino.
. Rosário, Argentina, T4, videoinstalação e sombras fotográficas [video installation and photographic Shadows], Madrid Mirada, Centro Cultural Parque de España.
. México D.F., México, T4, videoinstalação e sombras fotográficas [video installation and photographic Shadows], Madrid Mirada, Museo Universitario del Chopo.

2008
. Nyon, Suíça, El lugar de los deseos [The Place of the Desires], videoinstalação e intervenção urbana [video installation and urban interference], Ombres et lumières, Museo de Arte Contemporáneo, Château de Nyon.
. Rosário, Argentina, La mirada ubicua. Fotografía por rosarinos, instalações, [The Ubiquitous Gaze, photographs aken by photographers from Rosario, installations], Imago-OSDE .
. San José, Costa Rica, T4, videoinstalação e sombras fotográficas [video installation and photographic Shadows], Madrid Mirada, Museo de Arte y Diseño Contemporáneo.
. Panamá, T4, videoinstalação e sombras fotográficas [video installation and photographic Shadows], Madrid Mirada, Museo de Arte Contemporáneo de Panamá.
. Madrid, España, T4, videoinstalação e sombras fotográficas [video installation and photographic Shadows], Madrid Mirada, Círculo de Bellas Artes.

2007
. Nyon, Suiza, Ensayo sobre la espera [Essay on Wait], videoinstalação e sombras fotográficas [video installation and photographic Shadows], Les Rêves du Château, Château de Nyon.
2006
. San José, Costa Rica, Sombras del Sur y del Norte [Shadows from the South and the North], instalação [installation], Estrecho dudoso, Museo de Arte y Diseño Contemporáneo.

2005
. Buenos Aires, Argentina, Entre el silencio y la violência [Between Silence and Violence]. Arte contemporáneo argentino, instalações e objetos [installations and objects ], Fundación Telefónica.
. Badajoz, Espanha, Arte y compromiso en Argentina [Art and Commitment in Argentina], instalações [installations], Museo Extremeño e Iberoamericano de Arte Contemporáneo.
. Burgos, España, Arte y compromiso en Argentina [Art and Commitment in Argentina], instalações [installations], Centro de Arte Contemporáneo de Caja de Burgos.

2004
. Nova York, Estados Unidos, Entre el silencio y la violência [Between Silence and Violence]. Arte argentino, instalações e objetos [installations and objects], Sotheby’s.

2003
. Glasgow, Escócia, Sanctuary, instalações [installations], Museum of Modern Art.
. Buenos Aires, Argentina, The Golem, instalações [installations], Museo Nacional de Bellas Artes.

2002
. Redmond, Estados Unidos, Shadow Play, instalações [installations], Microsoft Art Collection, Microsoft Corporation.
. Johnstown, Estados Unidos, Contemporary Latin Art: New Directions, instalações [installations], Perella Gallery at Fulton Montgomery College.
. Praga, República Checa, The Golem, instalações [installations], Centro Cultural Rudolfinum.
. Fort Lauderdale, Estados Unidos, Argentina Art 2002, objetos e instalações [objects and installations], Galería 6, Broward County Library.

2001
. Nova York, Estados Unidos, Ciudadanías del miedo [Citizenships of Fear], Adquisiciones recientes [Recent Acquisitions], heliografia sobre papel [heliographies on paper], Bronx Museum of the Arts.

2000
. Rosário, Argentina, Cuerpo a cuerpo [Body to Body, heliografia sobre madeira [heliography on wood], Colección de arte contemporáneo de Rosario, Museo Municipal de Bellas Artes Juan B. Castagnino.
. Rosario, Argentina, Metamorfosis de la mano [Metamorphosis of the Hand], sombras fotográficas [photographic shadows], Centro Cultural Parque de España.
. Buenos Aires, Argentina, Metamorfosis de la mano [Metamorphosis of the Hand], sombras fotográficas [photographic shadows], Centro Cultural Recoleta.
. Redmond, Estados Unidos, De la serie Cuerpo a cuerpo[From the Series Body to Body], instalação [installation], Adquisiciones recientes [Recent Acquisitions], Microsoft Art Collection, Microsoft Corporation.

1999
. Rosário, Argentina, El incendio y las vísperas [The Fire and the Vespers], instalação [installation], 34 ARC. Artistas rosarinos contemporâneos [Contemporary Artists from Rosario], Museo Municipal de Bellas Artes Juan B. Castagnino.
. San Juan, Puerto Rico, Un lugar bajo el sol [A Place in the Sun], instalação [installation], Arte del nuevo médio [New Media Art], Museo de Arte Contemporáneo.
. Washington, Estados Unidos, Mastering the Millennium, instalação [installation], Museo de Arte de las Américas - OEA.
. Buenos Aires, Argentina, Mastering the Millennium, instalação [installation], Museo de Artes Plásticas Eduardo Sívori y Centro Cultural de Recoleta.

1998
. Paris, França, Arte en el mundo. Cien artistas del mundo em el arte contemporâneo [Art in the World. A Hundred Contemporary Artists from All over the World], instalação, muestra organizada por la revista Beaux Arts [organized by the Beaux Arts magazine], Passage de Retz.

1997
. Rosário, Argentina, La gráfica, una apuesta contemporânea [Graphics, a Contemporary Proposal], heliografia sobre papel heliography on paper], Centro Cultural Bernardino Rivadavia.
. Rosário, Argentina, Vestidos de azul [Dressed in Blue], ação urbana urban action, Centro Cultural Parque de España.

1996
. México D.F., México, Las cosas que se llevaron [The Things They Took with Them], instalações [installations], Argentina-México: en tránsito, Museo del Chopo.
. Buenos Aires, Argentina, Las cosas que se llevaron [The Things They Took with Them], instalações [installations], Argentina-México: en tránsito, Fundación Banco Patricios.
. Buenos Aires, Argentina, Bocanada [Mouthful], instalação [installation], Los limites de la fotografia [The Limits of Photography], Fundación Banco Patricios.
. Santiago, Chile, Bocanada [Mouthful], instalação [installation], Los límites de la fotografia [The Limits of Photography], Museo Nacional de Bellas Artes.
. Madrid, Espanha, De la serie Bocanada [From the Series Mouthful], instalação [installation], Al rojo vivo [Red Hot], Casa de América.

1995
. Santiago, Chile, De la serie Bocanada [From the Series Mouthful], , Los limites de la fotografia [The Limits of Photography], Museo Nacional de Bellas Artes.
. Buenos Aires, Argentina, De la serie Bocanada [From the Series Mouthful], instalação [installation], Los límites de la fotografia [The Limits of Photography], Fundación Banco Patricios.
. Rosário, Argentina, De la serie Bocanada, instalação [installation], 11 x 11. Once artistas de Rosario, once artistas de Buenos Aires [11 x 11. Eleven Artists from Rosario, Eleven Artists from Buenos Aires], Museo Municipal de Bellas Artes Juan B. Castagnino.
. Buenos Aires, Argentina, De la serie Bocanada [From the Series Mouthful], instalação [installation], 11 x 11. Once artistas de Rosario, once artistas de Buenos Aires [11 x 11. Eleven Artists from Rosario, Eleven Artists from Buenos Aires], Museo Nacional de Bellas Artes.

1994
. Buenos Aires, Argentina, El emigrante [The Emigrant], instalação [installation], Museo de Artes Plásticas Eduardo Sívori.
. Rosário, Argentina, Bocanada [Mouthful], objeto [object], Museo Municipal de Bellas Artes Juan B. Castagnino.


Coleções Públicas e Privadas [Public and Private Collections]


Bronx Museum of the Arts, Nueva York, Estados Unidos; Museum of Art, Fort Lauderdale, Estados Unidos; Museum of Fine Arts, Houston, Estados Unidos;
Galería Universitaria, University of Delaware, Newark, Estados Unidos; The Microsoft Art Collection, Microsoft Corporation, Redmond, Washington, Estados Unidos; The Progressive Corporation, Mayfield Village, Ohio, Estados Unidos; Museo de Arte Contemporáneo de Bahía Blanca, Argentina; Museo de Arte Moderno de Buenos Aires, Argentina; Museo Castagnino+macro, Rosario, Argentina; Museo de Artes Plásticas Eduardo Sívori, Buenos Aires, Argentina; Colección Asociación El Círculo, Rosario, Argentina; Fundación Banco Patricios, Buenos Aires, Argentina; Fundación Mario Pantaleo, Buenos Aires, Argentina; Capitólio Policultural, Porto Alegre, Brasil. University of Essex, Colchester, Inglaterra.


Publicações [Publications]
2009
. “M2: Adentro o afuera” [Inside or Outside], texto publicado no livro M2 [text included in the book M2], Ediciones Castagnino+macro.

1997
. “Consideraciones sobre la gráfica” [Considerations about Graphics], texto em catálogo para apresentação de exposição no workshop de Luis Camnitzer [article in the catalogue for the exhibition at Luis Camnitzer’s workshop], Buenos Aires.

1997/1996
. “Grietas” [Cracks], texto en catálogo para la exhibición Argentina - México: en trânsito [article for the catalogue of the exhibition Argentina - México: en tránsito], México D.F., Museo del Chopo - Buenos Aires, Fundación Banco Patricios.

1996
. “Interferencia” [Interference], texto em catálogo da 23ª Bienal Internacional de Arte de São Paulo [article for the catalogue of the 23rd São Paulo Biennial], São Paulo, Fundação Bienal de São Paulo.

1994
. Escrituras solares. La heliografía en el campo artístico [Sun Writings. Heliography in the Artistic Field], Rosário, edição do autor. [author’s edition]

1990
. Imagen de una espera de lo imprevisto [Image of the wait for the unexpected], Argumedo-Sacco. Artigo apresentado no Seminário Internacional do Centro CAO , Projeto LA ND 5 World Laboratory, Universidad Nacional de Buenos Aires. Publicado no livro pelo Centro CAO , Buenos Aires, Argentina. [Paper presented at the International Seminar of the CAO Center, LA ND 5 Project World Laboratory, Universidad de Buenos Aires. Published by CAO , Buenos Aires, Argentina].
. “Una alternativa de lo alternativo” [An Alternative for the Alternative], artigo publicado na revista cultural Manuscritos, año 2, nº 4[article published by Manuscritos magazine, year 2, no. 4], Buenos Aires.

1989
. De Tucumán Arde al ready-made social [From Tucumán Arde to Social Ready-made], artigo apresentado no jornal Primeras Jornadas de Teoría e Historia del Arte, republicado em livro libro editado pelos organizadores [paper presented in the First Conference of Art Theory and History, published by the Fundación San Telmo], Buenos Aires, Fundación San Telmo.

1987
Sacco-Sueldo: Tucumán arde, pesquisa realizada para a tese final de Licenciatura em Artes Visuais da Universidad Nacional de Rosario [research work carried out for the final thesis of the Degree in Visual Arts at the Universidad Nacional de Rosario]. Rosario, edición de autor [author’s edition].

Exhibitions