Guido Ast is an Argentinian visual artist whose practice spans different formats and languages. He began studying photography in 2016 and trained in clinics and workshops with Valeria Bellusci, Romina Resuche, Azul Aizenberg, Mariana Mazover, and Florencia Nieto. He has published three artist books: Como una sola noche (Like a Single Night, 2023), Anduve por Mongolia (I Traveled Through Mongolia, 2025), and Hasta que todo sucede de repente (Until Everything Happens Suddenly, 2025). His work explores memory and the fear of loss, understanding the act of recording as a form of resistance against forgetting. Additionally, since 2021, he has been managing the Alejandro Kuropatwa archive, a task that cuts across his practice and activates an ongoing conversation between memory, legacy, and his own production.

Guido divided his Exploration Residency into two periods of two weeks each. The first period, in September, consisted of displaying his material in the space in order to understand its visual and installation possibilities. Then, in December, he continued his process, refining his search with a clearer intention of where he wanted to take his project. The result was a site-specific installation in the Transversal Space of the ´ace studio, where the artist displayed a small but important part of his collection of snapshots.

ARTIST STATEMENT

As a visual artist, my practice unfolds between photography, archiving, painting, writing, and video, exploring the weight of family heritage, the fragility of memory, fatherhood, and the fear of loss. I work from a personal need: to record before forgetting, knowing that all memory is fragile and necessarily incomplete. I use digital photography, snapshots taken with a simple camera, Google Street View prints, family archives, painting, and pictures recovered from the street.

During my residency, I worked on the project Notes to Avoid Losing Memory. This stems from a vital need: to record before forgetting. At the same time, I start from a certainty: you cannot remember everything, knowing that all memory is fragile and necessarily incomplete. The archive I am building is organized around this impossibility. Through snapshots, the project investigates the obsession with remembering, the representation of forgetting, and the weight of inheritance. In the program, I worked with 800 snapshots taken over six years, exploring their meaning, conceptual development, narrative, and the creation of work with them.