Sebastian Diaz Morales (born 1975) is an Argentine visual artist.
Born in 1975 in Comodoro Rivadavia, Argentina, and currently dividing his epoch between that city and Amsterdam, The Netherlands, Sebastián Díaz Morales belongs to the newest generation of Latin American artists. In his films and videos, Mr. Diaz Morales explores the possibilities of video from a incline that falls somewhere amongst documentarism and reinterpretation of a reality seen through playfulness, irony, and a victimized scepticism. Essentially cultured and technologically skilled, Mr. Díaz Morales, like the new members of this supplementary generation of artists, knows how to use the filmic language by drawing upon the social experiences of his country and curt surroundings to fabricate works that entirely break out any parochial reading.
The instigation of an odd atmosphere imbued subsequently a strange sense of unrest is first and foremost.
His works can be described as filmic narratives embracing stories that sometimes resemble science fiction, sometimes with clear catastrophic overtones, and in which there is an ever-present common denominator of a minimalist narrative style wherein the camera is always upsetting and in which the characters virtually play a part as metaphors for a tally that goes higher than the anecdote to declare problems of good scope in current society. His accomplishment encompasses the most contemporary and creative reportage, epic narrative, documentaries, short auteur films, filmic essays, and indeed an undeniable touch of poetry that cause his videos to substitute between certainty and fiction, always filtered through the artist’s creative subjectivism.
They all Begin from little stories, apparently trivial situations that provide rise to new symbolic stories that disturb our conscience and renovate our concept of the affect of art.
His be in has been exhibited widely at many prominent venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwin Museum, Budapest; Bienal de São Paulo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon—and is the remaining collections of the Centre Pompidou; Tate Modern; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon. In 2009 he was awarded behind a Guggenheim Fellowship.
(Adapted from an article by Rosa Olivares)
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