“Epic: Feats of Argentine Design” is a multi-format curatorial program aimed at reviewing a century of design history through the collections safeguarded by IDA Foundation and other archives. The chapter “2000-2020”, addresses the 2001 crisis, political graphics, author design, gender equity, and the passage of material design to its intangible counterpart.
#EpicAnniversary | 2001 Crisis + Bicentennial
On December 20, 2001, Fernando de la Rúa (1999 - 2001) quit the presidency in the midst of one of the worst political crises of the country. He had to abandon the Casa Rosada, presidential house by helicopter. Instability began with the mega-exchange policy paired with the decline of the Central Bank reserves. On December 1st, the government proclaimed what is popularly known as the "corralito", which meant retaining bank savings. The measure unleashed a loud reaction by the people, who showed their anger by clashing pots outside their balconies and on the streets. The "cacerolazo" episode was replicated all over the country during December 19th and 20th, pushing the government to decree a State of Siege. Protests were controlled in violent ways, resulting in the death of 39 Argentinian citizens. The institutional collapse led to five different presidents taking over the country in just 11 days: De la Rúa, Ramón Puerta, Adolfo Rodríguez Saá, Eduardo Camaño y Eduardo Duhalde. Exchange rates were unstable throughout 2002 and "quasi-money" began circulating: more than a dozen national and provincial bonds, also circulated as currency alongside the peso. “Lecop” y “Patacones” (Buenos Aires), “Bocade” (Tucumán), “Bocanfor” (Formosa) y “Federal” (Entre Ríos), “Lecor” (Córdoba), “Letras” (Tierra del Fuego), and “Cemis” (Misiones).
From the 21st to the 25 of May, 2010, more than 6 million people gathered to celebrate the Bicentennial of the May Revolution. The national celebration was unprecedented. It included such actions as the creation of a brand and an official emblem, a mail stamp by Correo Argentino, commemorative coins, and street events, such as concerts —Luis Alberto Spinetta, Fito Paéz, León Gieco, among other artists— and the promenade Paseo del Bicentenario, set throughout 9 of July Avenue with the purpose of hosting fashion shows and presenting more than 2000 artists, like Fuerza Bruta, a group that narrated national history episodes. Celebrations boosted the government of Cristina Fernández de Kirchner (two term-rule, from 2007 - 2015), the president who gave continuity to the kirchnerista popular movement launched by Néstor Kirchner (2003 - 2007). Seven Latin American rulers were invited to the mega-event as a symbol of regional union. The new logo won a public contest. It was designed by Juan Pablo Tredicce, Hernán Berdichevsky and Gustavo Stecher. As part of the impressive cultural program, several venues were opened, for example, the Casa Nacional del Bicentenario (2010), the Museo del Bicentenario (2011), and the art, science, technology center Tecnópolis (2011) and MICA (2011, Creative Industries Market of Argentina).
#EpicContext | Fashion Platforms
Fashion platforms experienced a huge update in the early XXIst century. A new independent movement originated in the year 2000. Its epicenter was located at Galería Larreta (Florida Street 971), a few meters away from San Martín Square. The modernist-style space became the gathering place of self-proclaimed Diseñadores del bajo. This commercial experiment, carried out with a collective drive, was enabled by venues that became a haven for artists who produced outside the traditional circuit of creators. Most of these establishments specialized in selling clothes, objects, records. The restaurant-bar Saturnalia was iconic among these places, since concerts and visual arts exhibitions were often showcased in its terrace. Creators like como Nadine Z (Nadina Zlotogora), Vero Ivaldi, Insecta (Manuel Brandazza and Diego de Adúriz), and Zoo Chic (María Marta Faccinelli and Cecilia Gadea); and industrial design with Fernando Poggio. BAFWEEK —initially named Fashion Buenos Aires— was created the following week, thus boosting even more the new generation of designers and the concept of author design. The mega-event, originated in the midst of the 2001 crisis, was promoted by the business corporation Grupo Pampa (Pilar Calegari, Ivana Erlichman and Kika Tarelli) with the objective of turning the city into a fashion capital. The first event, entitled "Sofisticación Latina", took place at La Rural and immediately became an emblematic milestone remembered for the wide participation of designers and the monumental display of 19 different runway shows. It was witnessed by reporters from such international media as the Sunday Times, Visionaire, The New Yorker, Wallpaper, and Vogue Brazil. Trosmanchurba opened the event, which also featured the showcase of garments designed by Pablo Ramírez, Vero Ivaldi, Mariana Dappiano, and Cora Groppo, among others. The second year was smaller in dimension and took place at Buenos Aires Design. The BAF was directed by Kika Tarelli (2001 - 2014) and, since 2015, by Julieta Spina. New institutions emerged in the public sector at the time, for example the Observatorio de Tendencias (OdT, 2002) and Pasarela BA (2014). OdT, an institution linked to the Fashion Design and Industrial Technology Department of the National Institute of Industrial Technology (INTI), is an interdisciplinary center. This approach not only enables the observation, analysis, and definition of emerging social trends, projected scenarios, future consumer habits but also the creation of innovative products, and new aesthetic guidelines in diverse fields. Through the urban maps "Por la calle, Circuitos de Diseño", they reveal the independent movement of design. INTI Mapa de diseño, 101 diseñadores (2013) is one of several pieces published by the network. The book bears witness to five years of research work undertaken by experts from different regions throughout the country. In a paralell process, Pasarela BA —initially directed by Maximiliano Iriart— was created as part of the project Oficina de Moda developd by the Metropolitan Design Center with the aim of promoting new Argentinian designers. Some of the actions undertaken by Pasarela BA were yearly contests and personalized assistance programs —centered on such topics as product development, styling, and marketing advice—. The designers chosen for such programs would later participate at the BAFWEEK. The jury, which changed every year, included former winners and experts from different academic (UBA, UADE, UP, UM), institutional and industrial backgrounds. In this way, fashion is promoted as a creative industry for the development of the local economy.
#EpicContext | Political Graphic
Art and design groups involved in political activism emerged as a consequence of neo-liberal policies implemented in the 90's and the 2001 post-crisis context. These groups produced new, critical narratives about the country's situation. One of the first activist groupings was El Fantasma de Heredia (1992), a graphic design studio led by Anabella Salem and Gabriel Mateu, who have devoted to social activism for the past 30 years. They were influenced by the Polish Poster School and the French group Grapus. The studio mastered a compelling way of communication anchored on radical media formulas and techniques, such as projecting graphic pieces over silk-screen prints, illustrations, or photographs. The studio was widely acknowledged for the production of identity systems, books, magazines, websites, posters, and campaigns. The group received national awards such as the First Prize for the identity design of the Museo del Holocausto (Buenos Aires, 1995), as well as international accolades like the Icograda Excellence Award, at the 9th Festival de Chaumont (France, 1998); the Juror’s Prize, at the 14th Festival de Chaumont (France, 2003), the First Prize at the 7th Poster Triennial (Toyama, Japan, 2003), and the Grand Prix at the 4th Block Triennial (Ukraine, 2018). Some of their iconic posters have been successfully showcased in exhibitions like the one presented at the Salon Akademii (Poland, 2015) —compiled in the book WAW (2015)— or at the Casa América (Madrid Gráfica, Spain, 2019), thus consolidating the group's career.
As a reaction to the social and political burst experienced in 2001, the young industrial designers Gabriel Barsotti, Franco Francescini, Alfonso Lasala, Alan Newmark, and Darío Papagno got together to create Crisis Design (2002), self-defined as an "object activism" endeavor. The group foundation stone was a manifesto that claimed "Other kind of design is possible"; based on that premise, the group designed a series of ludic, ironic, and symbolic objects that defined that period. These pieces made references to contemporary issues such as financial hardships, repression, budget cuts to education programs, and unemployed citizens turned into garbage collectors; some outstanding examples are a one-legged desk, a cardboard bed, a barrel crib, a stretcher made of shields and batons, a cardboard sofa, and a grill shaped as a skeleton. Their prototypes were displayed at the Hormiga gallery (Bs. As.) and in other venues in the cities of Madrid and Berlin. They were also published in Argentine and Spanish graphic media and presented in the Panorama 03 congress (Mar del Plata) and the ELLADI 04 congress (Mendoza).
Grupo de Arte Callejero (GAC), initialized constituted by Lorena Bossi, Mariana Corral, Lorena Merlo, Violeta Bernasconi y Pablo Ares (1998 - 2005), was created in 1997 within the artistic circle. Their pieces and site-specific work denounced crimes against humanity perpetrated by the recent military dictatorship and the negative consequences of the 90's economic policies though confrontation mechanisms shaped by design language. They conveyed strong messages communicated through site-specific installations, performances, and videos shown in public spaces. Carteles de la Memoria (1999-2010), an urban site-specific was one of the pieces that won the international sculpture contest to be included in Parque de la Memoria. In 2006, Julia Risler and Ares coupled to create Iconoclasistas, a social communication lab that designed posters, publications, cartographies, and urban site designs centered around collective mapping practices and situation diagrams design. At the same time, they led workshops aimed at promoting critical responses in different locations of the country with the support of neighborhoods, museums, and activist networks. Their work was recognized with the Curry Stone Design Prize (2017) and the 1st Prize of the Graphic Design and visual communication BID12 (2012, Latin American Design Biennial). In the editorial field a new magazine, Barcelona, directed by Ingrid Beck, Mariano Lucano and Pablo Marchetti, bursted onto the scene with the sarcastic motto: “A European solution for Argentine problems”. The magazine was published in an independent way until 2003 on a weekly basis. It included fake news in a tabloid format that used graphic resources, such as big scale fonts (that communicated catastrophic claims), infographics, and photomontages, in extreme ways. The magazine was published for 19 years, which resulted in the appearance of 500 Issues, year books, books and other paperback special editions. Nowadays, Coco Cerrella keeps the complaints active. He graduated from the UBA in December, 2001 and he specialized in designing posters about social actions connected to education, gender issues, and labor rights. His work has been showcased in 39 countries and his pieces appear in such publications as The Design of Dissent (Milton Glaser and Mirko Ilic). He also developed identity strategies for endeavors of high social impact and coordinated the communication strategy of the Sin Fronteras Argentina, an engineering civic association broadly recognized nationally and worldwide for its visual identity. Since 2013, he gives workshops about Human Rights poster design to inmates at the Devoto jail —at the Centro Universitario Devoto—, where he also collaborated in the creation of the cooperative printing press “Esquina Libertad”.
#EpicContext | Young Experience
In big cities throughout Argentina, artists, designers, creative producers gathered to organize events and experiences outside academic circles. The Buenos Aires arts collective, DOMA has produced since 1998 a heterogeneous body of work which includes graffiti, stencils, stuffed animals, dioramas, animations, and, even, sculptures and site design displayed in public spaces. The group, composed by Mariano Barbieri, Orilo Blandini, Julián Manzelli, and Matías Vigliano, drives inspiration from graphic guerrilla tactics and has adopted the motto: "Action-Reaction", which represents the strong social critique performed through its work. The artists use playful language, irony, and bright colors to achieve a radical blend of Ideas and symbols. They enter the official circuit after winning the Curriculum Cero at the Ruth Benzacar gallery (2002) and participating in the contemporary space of Malba (2003).
The editorial projects FASE superfanzine and Terrorismo gráfico shocked traditional design magazines with their innovative formats. FASE was launched in the year 2000, at the initiative of a group of students and faculty members of the FADU (UBA), in a quest to try experimental formats like street art, motion graphics or innovative editorial production, as shown in FASE superfanzine. Directed by Gustavo Gagliardo, fanzine issues addressed specific themes from an appealing graphic approach. Sometimes, Issues were presented alongside audiovisual shows and site specifics in iconic spaces like the Pabellón 4 (Palermo). Likewise, Terrorismo Gráfico (2004) was promoted by Adrían Candelmi and Patricio Crespi, postcard-based publication. It is important to highlight that postcards, In the publication were conceived as small, artistic objects that could be understood as "toys for adults". Its design showed strong creative elements, boosted by high quality prints and handmade finishing touches like cuts, folding techniques, and other packaging details. After 10 issues, the format mutated to Terrorismo Gráfico Museo Postal Móvil, which was published until 2011. New, collectable issues appeared every 3 months, with a circulation of 5000 deluxe boxes distributed worldwide. Its content was organized in sections-halls connected to renowned authors, artists, designers, illustrators, and photographers. Ácido Surtido, an independent magazine directed by Lucas and Mauro López, also circulated; in a drop-down format and distributed free of charge, it was made up of a two-sided sheet where, like an exquisite corpse, guest collaborators were found.
At that time, design was also experienced and promoted in urban events and festivals. Some of them derived from original, made in Argentina ideas, while others were imported models. PechaKucha originated in Japan in 2003 as a storytelling platform that quickly spread worldwide. It arrived in Argentina in 2006 and was planned to take place in cities like Buenos Aires, Santa Fe, Bariloche, Mendoza,Resistencia, La Rioja, and San Juan with the goal gathering experts in creativity and connectivity introduced by a brief speech supported with projected audiovisual material. The TedX format —derived from American TED talks featuring presenters with wide expertise in the areas of education, business, science, and technology— was held for the first time in different cities of the country back in 2010 In the form of local, self-organized events. The biggest of these events was TEDxRiodela Plata, which included presentations by design icons like Ronald Shakespear, Silvio Tinello, and Martina Flor. In 2006 the city of Córdoba hosted the International Encounter Pixelations, which has also been organized more than 15 times up to date in Rosario (Santa Fe), directed by Anibal Bazán. The event touches topics related graphic, industrial and garment design, as well as advertising and animation in a series of conferences, workshops, and training sessions.
For its part, the journalism magazine specializing in design 90+10 by Marcela Fibbiani and Gonzalo Fargas that emerged in 2004 —with national and international distribution, special productions on products and fashion, and capsule joints between designers and brands— screened Inspiration Fest, a multidisciplinary meeting for the promotion of creative industries.
The event has taken place three times at Ciudad Cultural Konex (2009 - 2011), and Inspiration Day -a format that precedes the big festival- has been organized at the Centro Cultural de España in Buenos Aires, at Espacio Fundación Telefónica (2011), and at Centro Metropolitano de Diseño (2012).
#EpicFeatured | Metropolitan Design Center
The Centro Metropolitano de Diseño (CMD) had its origins between 1998 and 2001, backed by Rafael Kohanoff, then Minister of Industry of Buenos Aires City. The public institution was officially opened in December 2001 and it was integrated to the Ministry of Economic Development. The Center had a unique, local aim: to turn design into a strategic tool to promote the city's economic development. It was physically established in the industrial neighborhood of Barracas and it occupied two adjacent areas: the first one, known as “Pescadito”, was developed by architects Carlos Blanco and Adriana Pérez Moralejo; and, the second section was established at the former market, Mercado del Pescado. The latter venue was repurposed in different stages (2003, 2007, 2010) by Paulo Gastón Flores, who won a public contest to lead the project and manage to expand the construction site up to a total of 14.000 m2. The initiative boosted the recognition of the city as a design capital, Buenos Aires Ciudad de Diseño by UNESCO (2005). The center had five operational areas: fashion, product design, interactive design, strategic design, and IncuBa (an incubator of creative Industries projects). The CMD aimed at opening spaces, fostering communication, encouraging attendance, and promoting the field through alliances with small and medium size enterprises, experts, and entrepreneurs. New projects were launched, for example, the Strategic Design Program directed at companies (its goal was to promote innovation and competitiveness by incorporating design to production processes of goods and services) and IncuBA, the creative program for enterprises which engaged such firms as Diseñaveral, Grupo Bondi, Totebag, and Fretto Mejías. The Center also provided technical advice to support the inclusion and management of design as part of value chain operations (operaciones por cadena de valor). The model was implemented in Operation Eucalis, Brico, Salix, Piel Plata, and Domestic Objects —under the coordination of María Sanchez, Anabella Rondina and Matías Trapani—. These projects followed a design methodology aimed at connecting the production of raw materials in different regions of the country (for example, woods, chinchilla fur, and metal) with their commercialization process In Buenos Aires. The model City of Fashion, a public-private project aimed at encouraging the economic boom of the fashion circle through programs that offered technical and financial aid, as well as professional development activities, stemmed from Oficina de Moda under the lead of Vicky Salias. The program supported the development of Salsipuedes, Sibilia, Nadine Zlotogora, Kostüme, Dappiano, and the Estebecorena Brothers, among other creators. After its conception, the Programa Dorrego Ferias de Diseño (2003 - 2008) became an incubator of innovative and commercial products related to the creative industries. Dalila Puzzovio curated the Galardón de Diseño Madame Frou Frou with the goal of developing new products; same as the Laboratorio T, directed by Mariano Toledo, a project that supported the creation of original collections at the CMD workshops. Besides, the office promoted wholesale commercial interaction of companies within the fair circuit and developed a program to aid fashion enterprises go global through international fairs.
The Festival Internacional de Diseño (FID) has been organized since 2006. The festival has become a great space of interaction that connects diverse design-related activities with conferences, exhibitions, contests, and product presentations. All exhibitions and site-specific pieces produced for the FID have provided the discipline with support and sensitization. Simultaneously, new, significant spaces were created, for example, the Instituto Metropolitano de Diseño e Innovación (IMDI) —conceived by Analía Cervini in 2003, with the purpose of fostering research and transferring strategic design knowledge to the IMDI Model—; the Centro de Investigación, Desarrollo, Innovación y Diseño en Ingeniería (CIDIDI); the CMD Lab, which included a prototype and digital modeling lab; and several trade schools. In the midst of these prolific context, the annual meeting known as Conferencia CMD, which lasted for 13 years, was organized. Besides, the Observatorio de Industrias Creativas was introduced. All of these institutions published multiple, iconic pieces, for example, Identidad estratégica. Alternativas locales en mercados globales (2005).
The compilation Diez años del CMD (2013) was a memoir that synthesized 10 years of the cultural management achieved by the center. Besides, the center launched IF (2006 – 2016), a design magazine that highlighted the ties which connect the discipline with industrial production, technology, innovation, and management. In relation to its internal management, the CMD had such collaborators as Adrian Lebendiker (2001-2007), Enrique Avogadro (2008-2013), Marisa Bircher (2014), and Mora Scillamá (2014-2015), as General Directors of Creative Design/Industries; as well as managers like Marcos Amadeo (2008-2009), Anabella Rondina (2010-2016), Laura Salles (2011-2015), and Analía Cervini (2016-2019). State policies to support the sector were strongly pushed until 2015. Since 2019, control was transferred to the General Directorate of Entrepreneurs and Science and Technology, causing a depletion of projects and the migration of staff professionals.
#EpicFeatured | TRImarchi
Since 2002 the TRImarchi (TMDG) has been organized in Mar del Plata. The multi-format event, centered around Latin American design, successfully combines formative and entertainment activities using an unstructured model. The event was conceived by two youngsters, Sebastián “Acampante” Valdivia and Pablo “Pacheco” Gonzalez Díaz,18 and 19 years respectively —both design students of the M. A. Malharro Visual Arts School—. The founders wanted to create a direct experience between the audience and renowned design experts. Sebastián Santisteban collaborated with the project during its first year and Gustavo Eandi joined TMDG studio during its third year. Instead of using classrooms, the international encounter initially took place at the Teatro Auditorio; later, it was moved to the sports venue, Estadio Polideportivo, thus acquiring a more festive tone.
What was once one of the pioneer international design congresses, currently gathers more than 6000 designers throughout 3 intense days of conferences, workshops, exhibitions, parties, and creative Interactions featuring contemporary specialists and creators. Despite being focused mainly on graphic design and visual creation, the event also highlights music and avant-garde culture. After some years, architecture, garment design, innovation, and applied technology (apps and augmented reality) were also included in the program. Seymour Chwast, Paula Scher, Bob Gill, Martha Cooper (USA), Stefan Sagmeister (Austria), America Sánchez (Spain), Massimo Vignelli (Italy), Hideyuki Katsumata (Japan), Edgardo Giménez, Alejandro Ros, Rocambole, and Martín Churba (Argentina) are some of the authors that have participated at TMDG. The encounter also provides street art experiences, fair stands that present new brands and projects, live music, and photography, drawing, collage, and typography exhibitions. Buenas Noches Trimarchi, (a mini-event organized since 2003) celebrates underground audiovisual production: stage setting, projections, lighting, mappings, original music, DJ´s, and VJing complemented with dancing. The festival opened with presentations by Gustavo Lamas, Dj Kain, DOMA, and Fase Music Sender. The opening of Club TRI with partners Nano y Nicolás, which already has 2 venues, helped create permanent spaces, like Club de Ocio and Estudio, that have expanded the public that enjoys creative leisure places that include: library, coworking areas, bar, and stages for shows. Besides, TMDG has published 14 books and 8 multi-format records (Cd, vinyl, cassette, and digital). During the pandemic, associated with Domestika, they promoted the curation of design courses in different countries in America and Europe and recorded the "Masters" series of documentaries. In 2021, they promoted a contest with production scholarships for 9 categories that they presented as the Trimarchi Show in audiovisual format on the Filo News media platforms. This year, the super event is once again being held massively at the stadium.
#EpicFeatured | Octavio Martino
Octavio Martino (Córdoba, Argentina) is a graphic and advertising designer. He began working as an Art Director at the Brokers SRL agency; then, he became Creative Director of the Municipality of Córdoba; finally, he has worked independently since the year 2000. He is an expert designer of posters, editorial work, brands, and complex identity systems for both cultural Institutions and companies. Between 1998 and 2006, he designed the corporate image of the Centro Cultural España Córdoba (CCEC), a project for which he developed several pieces, including: catalogues, books, Invitations, exhibition programs, public posters, and high-impact, flyers that displayed great graphic mastery. Throughout this project, Martino was able to build a unique identity mark shown in pieces like the main logo, which portrays a cow and bull talking as a symbol of double nationality and the many provocative books and visual metaphors he produced. The tone and creativity of his work has allowed the CCEC to communicate in a fun and Informal way with Its member and the public in general. He also conceived Inserts, special prints, foldables, and other ludic resources to complement each piece. The exhibition Diez años de diseño gráfico del España Córdoba (2008), showcased at the Argentina Pavilion, displayed some of the work he achieved for the CCEC in association with the institution's management and other artists. At the same time, he designed identity systems for the 1st Child Art Biennial FUCA and for the Genaro Perez Museum, as well as posters for films and social causes with which he participated in events like the Bienal Internacional del Cartel México (2004) and the Bienal de Japón en Osaka (2003). Part of his work has appeared in international compilations, for example in Latin American Graphic Design by Julius Wiedemann and Felipe Taborda (Taschen, 2008).
#Epic #ExpertOpinion | Nasimbera + Varsky
María Celeste Nasimbera is a journalist, who graduated from the University of Buenos Aires. She is a specialist in design and fashion and has worked in communication media since 2012. Currently, she is the digital editor of L'Officiel Argentina; previously, Nasimbera worked for such publications as 90+10, Distrito Arte, and Harper 's Bazaar Argentina. On top of that, she has developed her own editorial project, Crónicas de moda, since 2015. As a reporter, she has covered significant international events like the fashion weeks held in London, Milan, and Paris. She was a member of the Puro Diseño fair (2016-2017) selection committee and, since 2019, has performed that same role at the Good Design Seal. During the next month, we will talk with Nasimbera about management platforms, communication, and fashion retail in the 2000's.
Laura Varsky is a graphic designer and an illustrator, who graduated from the University of Buenos Aires. She has specialized In designing album covers for Independent rock bands and developing projects for the editorial market. Varsky has also authored her own Illustrated books. She has received a Latin Grammy (2006), the excellence award granted by Communication Arts (2015), and the 2nd Design Prize given by the National Fund for the Arts (2028). As a professor, she has given lectures and led workshops throughout Ibero-America; she was a faculty member of the FADU (UBA) for 10 years and, currently, she co-directs the first post-graduate Program in Professional Illustration in that same institution. With Varsky, we will discuss ideas about women's role in Argentine design, the actions carried out by the design group Hay Futura, and the social function of the discipline.
Extension | Induction Stein
We are proud to announce the integration of Guillermo Stein's patrimonial collection to IDA Foundation. Guillermo Stein is a graphic designer trained at the Bezalel Academy of Art and Design in Jerusalem. Throughout his thirty years of experience in the field of design, he worked for big media corporations. He was the general director of corporate identity and audiovisual image at Grupo Eurnekian (1987 - 2000). Afterwards, he created Steinbranding Design Studios (2000), an international studio specialized in audiovisual media branding. His agency developed projects for more than 50 broadcasting companies. The studio also designed the Identity and signage system of several airports. The donated collection comprises brand handbooks, implementation graphics, and photographic records of several projects, such as the ones developed for: Aeropuertos Argentina 2000 — which included a national master plan of corporate design and signaling—, and the television signals: Canal America TV, Cablevisión, Canal(á), diario El Cronista, Canal Gourmet, Encuentro, Paka Paka y TV Pública; Radios América, Aspen, Del Plata; and international such Film&Arts, Discovery Kids, Magic, Hallmark Channel, Fox. Such designs were acknowledged and showcased in exhibitions nation and worldwide.
-VV.AA. (2013). Diez años del CMD. Buenos Aires: Gobierno de la Ciudad de Buenos Aires.
Images | Fundación IDA, Fondos Patrimoniales: 3-4. Imagen HB | 5. Bafweek-Tarelli, Kika | 7-8. INTI. Mapa de Diseño-García Bello, Juliana | 9. Crisis Design | 10. El fantasma de Heredia | 11. Iconoclacistas | 12. Doma | 13. Pixelations | 14. Terrorismo gráfico | 15-16. Centro Metropolitano de Diseño | 17. Pozzi, Santi | 18-19. TRImarchi | 20-22. CCEC-Martino, Octavio | 23. Retrato Nasimbera | 24. Retrato Varsky | 25-27. Stein, Guillermo. Archivos invitados: 1-2. Página/12.