Cine+Perfo

He was born in the Pocitos neighborhood of the city of Montevideo. In his youth, he studied music at the Kolischer Conservatory. His first ballet teacher was Tamara Grigorieva. She received a classical training, which she interspersed with modern dance classes with teacher Elsa Vallarino.

In 1962 she traveled to New York, where she met great masters of dance, such as Martha Graham and José Limón. He continued his academic training at the Schola Cantorum in Paris, where he was part of Karin Waehner’s company. She worked as a choreographer and was also linked to the happening. During these years he developed an integrative language of various arts and a multidisciplinary approach, through which he incorporated dance, painting, sculpture, architecture, music, acting, performance and experimental cinema into a
same creative fact.

Between 1966 and 1968 he alternated between Uruguay and Paris, participating in the 1967 Fifth Paris Biennale for his innovative works of happening. During this period he directed important dance, theater and action arts works in Montevideo, among which are: “Liquidación de una platea” (Happening made in 1966), “Rompición” and “Escalada” (both 1969). In 1971 he was an active member of the cast of the Teatro de la Banda Oriental, within the Cultural Work Group within
the March 26 Movement of Independents and the Broad Front political party.
In 1972 he had to go into exile, passing through Argentina, Chile, Cuba, Venezuela and Spain. In the 1980s he returned definitively to Uruguay, where he continued to present
his works and was linked to the theater.

In the 1990s he devoted himself mainly to theater direction. She taught at the University School of Music and coordinated the Contemporary Dance Pilot Plan 2003-2005 for the establishment of a bachelor’s degree in contemporary dance at the University of the Republic.
In 2011 she was interviewed in the cycle A escena con los maestros, of the National Institute of Performing Arts of Uruguay, dedicated to people with a recognized career in theater or contemporary dance. In 2012 he published the book Cuerpo a cuerpo. Reflections of an artist through Ediciones Trilce, where, with the collaboration of Carina Gobbi, she reviews her uninterrupted artistic activity over fifty years.2 In March 2016 she was part of the exhibition Pioneers of Action Art – The Expanded Scene (1962/1975), together with Graciela Figueroa and Isabel Gilbert. The exhibition was held at the Cultural Center of Spain in Montevideo under the curatorship of the artist, curator and researcher Ángela López Ruiz.

In 2019 his work was included, along with the work of Graciela Figueroa and Teresa Vila, within the axis Political Bodies. Uruguayan women artists of the sixties under the curatorship of Elisa Pérez Buchelli, as part of the exhibition Interstices. Political Bodies, Conceptualist Strategies and Cinematographic Experimentalisms, held at the Centro Cultual de España in Montevideo, curated by Elisa Pérez Buchelli, May Puchet and Ángela López Ruiz, with the coordination of Guillermo Zabaleta.

In March 2020, the artist donated her private archive to the Center for Research and Dissemination of the Performing Arts (CIDDAE) of the Solís Theater, belonging to the Municipality of Montevideo.11 This collection of the artist’s documents constitutes a valuable compilation of sources on her work throughout her artistic career.