Andrés Denegri (Buenos Aires, 1975), visual artist working mainly on film, video, installations and photography. He graduated at the Universidad del Cine, Buenos Aires. His awards include the Grand Prix from the National Salon Visual Arts (Buenos Aires, 2015), First Prize in the Itaú Cultural Award for Visual Arts (Buenos Aires, 2013), Gold Medal for best experimental film from the Belgrade Documentary and Short Film Festival (Belgrade 2012), the Grand Prix from the MAMBA/Fundación Telefónica Competition of Art and New Technologies (Buenos Aires, 2009), the Prize for Best Short Film at the Mar del Plata Film Festival (Mar del Plata, 2008), the John Downey Prize from the Santiago Biennial of Video and New Media (Santiago de Chile, 2007), Best Video Art of the Year from the Argentine Association of Art Critics Awards (Buenos Aires, 2006), Golden Impakt Award (Utrecht, 2005), 25fps Award (Zagreb, 2005) and the Leonardo Award–video category (Buenos Aires 2002.). He teaches at the Universidad Nacional Tres de Febrero, where he created and directs CONTINENTE, a research and production centre dedicated to supporting and diffusing the audiovisual arts. He is also co-director of the Imagen en Movimiento Biennale (BIM) and guest film and video curator for the Buenos Aires Museum of Modern Art. He has completed artist residences in Colombia, Serbia, Canada and the USA. His latest individual exhibitions include Cine de Exposición (Exhibition Cinema) (Fundación OSDE, October 2013-January 2014), Al Interior (To The Provinces) (Matucana 100, Santiago de Chile, October-December 2013), Aurora (Salta Museum of Fine Arts, May-June 2014), Clamor (Clamour) (Recoleta Cultural Centre, August-September 2015), Éramos Esperados (We Were Expected) (1st Biennale of Asunción, Paraguay, October 2015). Instante Bony (Bony Instant) (MacBA, December 2015-March 2016), Mecanismos del Olvido (Mechanisms of forgetting) (ENERC mayo – June 2018), Normas protocolares en el tratamiento de la bandera (Protocol rules for the treatment of the flag) (Pabellón 4, July-August 2018), (Pantallas Alteradas (Altered screens) (Universidad Di Tella, September – October de 2018). His latest group exhibition include Voltaje – Salón de Arte y Tecnología (Bogotá, October 2017), Sublevaciones (Museo de los Inmigrantes, Buenos Aires, August 2017), Colección Itaú de Arte Contemporáneo (Palais de Glace, Buenos Aires, June 2017), AVXLab Muestra de Auviosual Expandido (CCSP, Sao Pablo, June 2017), Artist: Film International (Fundación Proa, Buenos Aires, June 2016), Artist: Film International (Whitechapel Gallery, London, October-November 2016), 1ra Bienal de Asunción (Asunción, October 2015).

Andrés Denegri approaches the visual arts combining film, video, installations and photography. His projects generate dialogues between different formats, addressing them poetically and conceptually, creating tension in the classic uses of audiovisual technologies. His photographic production has its origins in analog cinema as the artist uses sequences of 16mm or Super 8 film frames to generate still images. Vintage film projectors are the protagonists of many of Denegri’s installations: from portable family devices to powerful industrial machines that are combined in the production of kinetic objects and monumental screens where celluloid leaves the projector and travels through the space traveled by the viewer. His cinematographic gaze allows the artist to create works thought as sequences, images that operate as registers where dialogues between cinema, literature and photography are proposed but where each practice maintains its support, its language, without invading the terrain of the other. Some of his most outstanding works such as “Instante Bony” (2000), “Tomar las calles” (2019) and “Máquinas de lo sensible (2019)” deal with research in the field of audiovisual arts and experimental cinema as well as study of material from historical archives. Denegri produces works where the devices and the memory technology are transformed into an allegory of the processes of forgetting and the denial of history, inviting the viewer to rethink the relationship between memory and its active importance in our present.