Gustavo Marrone (Buenos Aires, 1962) lives and works in Buenos Aires. Since the early 1980s, he has developed a sustained practice that articulates painting, drawing, installation, and object-making, in an ongoing investigation into the tensions between subjectivity, environment, and cultural construction.

He trained in painting in the studio of Pablo Suárez between 1980 and 1984, an experience that was decisive in shaping his critical approach to the image. During the 1990s, until 2011, he lived in Europe, where he deepened his theoretical training in seminars on contemporary thought led by philosopher Nelly Schnaith in Barcelona (1990–1995), and incorporated photography as a working tool in the studio of Humberto Rivas (1995). In 2001, he participated in the Quincena de Arte Contemporáneo de Montesquiu (Spain), under the direction of Martí Perán, where he attended a workshop with Fabrice Hybert.

Since 1983, he has exhibited both individually and collectively in galleries and institutions in Argentina, Spain, and other international contexts. Among his most notable solo exhibitions are El yo y el doble (2025) at Galería Nora Fisch; Esto No Termina Más (2024), a three-act project presented at the Colección de Arte Amalia Lacroze de Fortabat, curated by Roberto Amigo and Nicolás Cuello, which surveys his production from the 1980s to the present; Tratado de fricciones y dibujos (Galería Benzacar, 2024); Todo lo que dices puede terminar siendo una pintura (Centro Cultural Recoleta, 2016); and No apagar la luz (Centre d’Art La Panera, Lleida, 2011), among others. His work has also been presented in institutions such as the Museo de Arte Moderno de Buenos Aires, the Centro Cultural Kirchner, the Museu de l’Empordà (Figueres), and in international events such as the Mercosur Biennial (2009).

He has received numerous recognitions, including the First Prize of the Banco Central de la República Argentina (2019), the First Prize of the Fondo Nacional de las Artes (2018), and the Second Prize of the Salón Nacional de Pintura Vicentin (2018), among others. He has also participated in residencies such as URRA (2018) and RIIA (2007).

His works are part of significant public and private collections, including the Museo de Arte Moderno de Buenos Aires (MAMBA), the Museo de Arte Contemporáneo de Rosario (MACRO), the Museu de l’Empordà (Spain), the Centre d’Art La Panera (Lleida), and the collections of Banco Nación and the Banco Central de la República Argentina.

Alongside his artistic production, Marrone has developed an active practice as an independent curator, educator, and editor. Among his curatorial projects are OJO by Marcia Schvartz (Colección Fortabat, 2016, together with Roberto Amigo), as well as various initiatives in Argentina and Spain. He has also promoted workshops, educational programs, and editorial projects linked to the contemporary art scene.

Marrone’s work focuses on intercepting the discomfort that arises in the friction between a supposedly “natural” subject and its social, cultural, and affective construction. This tension manifests in everyday situations, in relationships with others, in the experience of institutions, and in interactions with architectural and symbolic environments. His practice is nourished by direct observation and urban experience—walking the city, traveling on public transport, interacting with others—as well as by the intersection with images, texts, and diverse materials.

In his work, any medium is potentially valid—from drawing and painting to found objects, installation, or writing—so long as it contributes to problematizing the questions that run through each series. The result is a heterogeneous yet conceptually cohesive body of work that consistently investigates the ways in which contemporary subjectivity is constructed, perceived, and put under tension.