I was born in Montevideo, Uruguay, from a multicultural family of european origins. When I finished high school studies at a French school, I moved to Firenze, Italy. During my studies in communication and exhibition design, I worked as a collaborator at the exhibition space of the Department of Architecture, Università degli Studi di Firenze.
In 2002 I moved to Napoli and started a collaboration with the Cultural Department of the Municipality of Napoli (Assessorato alla Cultura) to different projects aimed at developing novel solutions for the management of cultural structures. One of those projects led the Municipality to the opening of the first center for contemporary art languages in Napoli (PAN | Palazzo delle Arti Napoli) Currently I am the Production Coordinator of the PAN | Palazzo delle Arti Napoli (www.palazzoartinapoli.net) a stable structure of continuous studio and production activities. We develop projects that are aimed at documenting the history of contemporary languages. The result should be the ongoing construction of archives, services, tools and products of information and communication for the public access. The Center has collaborators that range from experts of new technologies to curators, from galleries to foundations, and has scientific partners like institutions and centers for contemporary arts. The Documentation Center comprises the official web site of PAN, the library, the mediathèque and all the audiovisual productions, and the digital archive presently accessible on site.
So, I am interested in history, theory, and criticism of art and design, innovative museum practice, creation and maintenance of exhibitions, strategic museum management covering the full range of activities of contemporary art centers.I am also interested in the problems of the documentation of contemporary art: methodology, terminology, conservation and the possible strategies and perspectives for the future by using digital technologies in contemporary museums. In particular my personal research is directed towards the possibilities of audiovisual media as a vehicle for exhibition, promotion and communication, and as an interpretative tool in contemporary art museums. I also wish to explore new business partnership models for museums as producers of audiovisual materials and archives.
In an age of archival, institutional and social critique, to whom or what is the artist, curator or archivist responsible? What would it mean to establish the categories of artist, curator, archivist or artwork, to define and delimit them in order to confer an identity upon them? How is an artwork lost, destroyed, abandoned, and then perhaps restructured, or rebuilt from its ruins, sometimes in other places, times and cultures? What is the relation between an artwork and the culture that produced it, between an artist herself and the public, or between an artwork and all the people from which it perhaps withholds its protections?

It is tempting to wonder about the archival fate of documentation, beyond the issue of its mutability, in an era which believes itself to be after photography, after cinema, after television. It is even more tempting, but difficult, to imagine how these documents will age, since they speak so clearly to our present, a present haunted by the media-annihilating possibilities of the digital. But, we can deal only with our "now," a now in which the documents are an eloquent witness to the crucial implications of temporality, memory, and history in the technologies of representation we think we know. Advances in technology are changing how we share knowledge and altering how the individual actor is conceived, undermining the concept of the individual genius creating art ex-novo.
We experience that pulsing creative connection in our everyday lives—launching websites, swapping files, mailing lists, search engines, making effective use of new technologies. Recommended approaches and strategies for preserving contemporary artworks or parts of artworks, should be a public shared resource that is collectively and continuously updated. A museum for contemporary art is an area that is between states of wet and dry and can be made of decentralized pockets. It is a model for a distributed network of artists, critics and theorists, integrating media production with training in theory and research. A container for documenting the history of contemporary languages, it is an ongoing construction of archives, services, tools and products of information and communication for the public access.
Within exhibition spaces, visitors come and go through the artworks to constitute temporary points of view. From there, they can look at the signs of communication produced in the continuous experimentation of contemporary arts: forms that are open or closed, regular or unusual, confirmed or rejected, to meet in the complex development of suggesting impressions about art today.
Each and everyone of these artworks is a proposal of different points of view. Taken together, the paths followed by the authors and the public inform a shared space that contribute to create a collective memory of contemporary times. Each author shows her point of view through her artwork. Each one of these conceptions takes place at a different level. The collection of these points of view, as it is characterized by a multilayered structure, informs a museum, a center for contemporary arts, a documentation center, an archive.