• if1/
  • if3/
  • if10/
  • Inside a typical family home in Buenos Aires at the beginning of the century, IF has rooms for teaching classes; photo studio; offices; dark room and exhibition gallery.

    IF provides the necessary means for the development of work in its projective stage. We invite photographers who are interested in developing activities: such as commissioned work; teaching; testing or dissemination of works; exchange of experiences; research or development of activities little spread around photography.


    Contemporary visual practices make the photographic image a transporter of senses, a light and fluid object that advances and establishes itself as a culture. The digital era of photography has generated a proliferation of the photographic act. Denote this phenomenon where photography establishes a new visual code puts the photographic above the photograph itself.

    Aware of the difficulties that arise in the beginning of all experimental activity: such as learning the first notions of photography; the development of an incipient career or the creation of new works for the most visited, IF is proposed as a testing laboratory for these activities.

  • if5/
  • if4/
  • if6/
  • if8/
  • I.F. it is critical company. An artistic paradigm that remains largely unknown until this day whose roots are in the 60's. These companies founded by entrepeneurial artists are transversal entities by their artistic activity in the context of different economic realities. Within their practices two confronted ideological positions actors get into tension: the Artist and the Company. In an age where the concerns that mark us are mostly economic, Art and Business become the field of work as before Art and Life were. Examples of these are: Ouèst-Lumière by Yann Thoma; FIT by Dida Zende; Atelier Van Lieshout (AVL); Ian Baxter; among many others.
    Taking budgetary limits as a common denominator, this space has been meaned to resolve those of others, offering a continent to a

    dispersed reality. To Infiltrate a constricted reality for the artist, it is proposed to aesthetically reformulate it, giving it a new approach with the means of art. Critical companies are projects that come to be installed over the long term as autonomous entities. In order to maintain its independence and create works in a context in which our critical relationship to the world is increasingly eroded. Through the economic models of the school, the exhibition gallery and the commercial photographic studio; an interdependent system is created at an economic-financial and promotional level.

    As we prime for the switch over from knowledge economics to creativity economics.

  • if9/
  • if11/
  • IF's mission is to leverage private spaces impeded to be used.
    Imagination, the essential fuel of artistic activity, reactivates these stagnant places through alternative mechanisms to those of the market. Owners, artists,

    teachers and entrepreneurs thus meet under another paradigm of mutual understanding. Through the conductive thread of the photographic, I.F. opens its doors for the dictation of courses, rooms sub-location, and art exhibitions.