THE MAMBA PRESENTS THE DOCUMENTARY "SERGIO DE LOOF: SENTISTE HABLAR DE MI?”

It is an unpublished material recently produced within the framework of the Sergio De Loof exhibition: Did you feel talking about me?, opened on November 28 at the Museum of Modern Art, which is the first retrospective of this artist and covers his more than three decades of experience. The documentary accounts for the exhibition and pays tribute to the artist, given the recent news of his death on March 22.

Through archival material produced during the exhibition, visits to the exhibition, guided tours, and interviews with curator Lucrecia Palacios and the artist himself, this audiovisual production reveals three central aspects of De Loof's career: his relationship with fashion, his work as host of the night spaces that had him as manager, and his particular vision of art.

Fashion designer, videographer, photographer, stylist, set designer, painter, architect of central nightlife venues such as El Dorado (1991), Morocco (1993) and Ave Porco (1994), among others, Sergio De Loof is one of the most influential and dynamic artists of the last three Argentine decades. All these spaces were legendary and invented an unprecedented night for a Buenos Aires that was trying to leave behind the customs installed during the dictatorship. In them, art and nightlife were integrated: they werenightclubs, bars and also cultural centers. Their programming included parades, exhibitions and plays, where the hitherto antagonistic worlds of artists and intellectuals, businessmen, the fashion universe and entertainment crossed each other, in a context of freedom and experimentation.

De Loof was a central figure in author fashion in the early 1990s. He conceived his parades as collaborative and community meetings, close to the theater. Their friends or acquaintances participated in them, with very diverse bodie types, far from those of the supermodels. Thus, he gave rise to bodily and sexual disagreements in his works. On their catwalks, the models danced and performed in the clothes that the artist had composed with scraps, second-hand clothes, paper and magazines. In creating these designs, he used techniques such as ñandutí, embroidery, patchwork and recycling, among others.

By the 2000s, the name De Loof had been synonymous with a unique sensibility for more than a decade, with which he created fantastic settings, clothes and fashion shows using discredited materials. With them, the artist forged his own style, the rococo trash, which is characterized by the baroque amalgam of eclectic and ephemeral cultural consumption.

This unpublished documentary piece is a way to keep the exhibition open in the context of quarantine, and at the same time a great opportunity to rediscover the work of this fundamental artist.

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