1940/52 
I was born in the capital on February 13 that year and I lived my childhood in the Santa Rita neighborhood completing my primary studies at the Jorge Newbery school. 
 
1953/60 
I attend the Otto Krause industrial school, which I left in my fifth year to dedicate myself to the plastic arts, attending various drawing and painting workshops. With the sculptor Victor Marchesse I learned to work with different materials and the craft of carving wood. 
 
1960/70 
During the 1960s I share a xylography workshop with the artist Osvaldo Romberg making engravings and mural works. These activities inevitably linked me to the boisterous bohemia of those days. The bars where he circulated were true creative powerhouses nurtured by artists from the most diverse disciplines. I make friends with many of them sharing trips, dreams and projects. Todas estas experiencias marcan decididamente mis pasos futuros        _cc781905-5cde-3194-bb3b -136bad5cf58d_
 
1970/72 
At the beginning of the 70s, my workshop on Viamonte street became a meeting place for many of the musicians who originated the national rock movement. During this time I put all my energy into promoting their bands: 
Almond, The Egg, Human Color, The Chocolate Bar, Rabid Fish. 
 
1973 
I start my journalistic experience in the magazine "Pelo"; where I write a monthly column, I also draw the cartoon "Golan and Tarma". 
 
1974 
I design and direct the magazine "Mordisco";. In this same year we also aired, with the same name, a radio program produced by Daniel Morano on Radio Rivadavia 
 
1975 
The magazine stops publishing due to financial problems but the editorial staff continues to meet behind a new editorial project, the 'Expreso Imaginario'. The situation in the country is increasingly dramatic, many of our collaborators left the country while others went into seclusion in distant valleys. 
We ourselves began to question the meaning of our meetings, increasingly depopulated. Until unexpectedly everything is resolved, Pipo Lernoud and Horacio Fontova join as reinforcements and much more unexpectedly the lawyer Alberto Ohanian offers to edit the magazine for us. 
 
1976 
After postponing its release for a few months as a result of the irruption of the military dictatorship and overcoming innumerable difficulties, in August of this year, the first issue of 'Expreso Imaginario' finally came out 
 
1979 
I resign from the Imaginary Express for disagreeing with the editor regarding the editorial line. 
 
1980 
I direct the magazine Zaff!!  for eight issues
 
1981 
I edit the magazine "Pan Caliente"; 
 
1982 
"Bread Caliente Festival" at the Excursionistas stadium. On January 2 of that year, this festival is held with the purpose of raising funds to continue publishing the publication. Both sound musicians and illuminators collaborate absolutely free of charge. Many groups register, so many, that the programming runs from 3:00 p.m. to 3:00 a.m. the following day. Some of the participating artists and groups: León Gieco, Lito Nebia, Los Abuelos de la Nada, Celeste Carvallo, La Fuente, Los Redonditos de Ricota… 
 
1982 
"Festival of Living Expressions"; in the rural In September 1982  
We organized this festival as a farewell to Pan Caliente magazine. 
More than five hundred invited artists participated. 
 
1983/92 
Canal Cero: Together with the architect Joaquín Amat, we created the Experimental Video Center. Through it, various works and installations emerged that were presented in different cultural spaces. 
The most important were held in the CC. La Recoleta: "; The Cube of Mirrors 88, The Sudden Channel and La Revancha de América in 92. 
 
1987 
"The Neighborhood Channel". Project presented for the neighborhood cultural programs of the capital. It consisted of encouraging the neighbors to use home video equipment to document different aspects, both personal and social, of reality. The objective was that they would later be displayed in the centers and could discuss their concerns. 
 
1988 
DC. LLAVALLOL. Together with the journalist Miguel Briante and the painter Emilio Renard 
We were invited by Joaquín Amat to participate in a new project to be carried out in a textile spare parts workshop in the town of Llavallol. 
The proposal consists of taking advantage of the idle hours (16) for the development of cultural and labor projects in conjunction with workers and technicians of the establishment. 
 
1990 
Food cooperative. A new inflationary blow shakes the country. Salaries are consumed in a week. In the workshop the idea of investing all the savings from extra work in food arises. This cooperative is so successful that in a short time it spreads to the neighborhood. 
 
1993 
Greenhouses. The first greenhouse prototype designed entirely by the cultural center team  is finalized
 
1995 (March) 
Bankruptcy of the textile company Amat de Monte Grande 
Retex, the textile spare parts workshop that depended on this factory, is forced to close. Its staff are fired and closing strips are placed on the gates. From that moment on, I began to coordinate the creation of a Press Department to achieve its reopening. 
 
1995 (August) 
The court temporarily lifts the bankruptcy and the factory reopens without electricity, without water, without gas. Despite everything, and with a superhuman effort, in December of that year, one by one the services are recovered and the factory starts up again. 
 
1996 (March) 
We are declared bankrupt again. This time the factory is taken over by the workers. Thousands of signatures gather and we begin an intense campaign to demand and support the project presented for the recovery of the source of work. 
 
1996 (June) 
The plant is reopened and the task begins, for the second time in less than a year, the task of putting it back into operation. 
 
1996/ 2000 
For four years the gigantic factory, supported by only two hundred workers (this time in a cooperative way) put not only all the sectors in operation but also generated a vacation camp for more than one hundred boys, (who were given breakfast and free lunch), a medical service, an organic garden and many other achievements that deserved in the press titles like these: "The working class goes to paradise" (Chronicle) / "Todos unidos we will triumph" (Page 12) / "Miracle in Monte Grande "(The Nation). Notes attached. 
All these achievements were useless so that in the year 2000 the definitive closure of the factory was decreed. My work throughout this administration was that of the cooperative's press officer. 
 
2001/2007 
After the closure, I resumed various communication projects with former writing colleagues after meeting again in a radio program that we put on the air for a year on FM La Tribu. With them we also developed a new format of open newsrooms, where we gather art and information that we have already presented in different cultural spaces: CC Rojas, General San Martín Theater, Malvinas Islands Cultural Center (La Plata), and others._cc781905-5cde-3194 -bb3b-136bad5cf58d_
At the same time, at this moment we are dedicated to recovering the activities in the Lavallol Cultural Center.