Rosana Schoijett (Buenos Aires, 1969) investigates in her artistic practice the possibilities of the photographic image, particularly the tensions between document and fiction, singularity and serialization. Across diverse projects, her work brings together intimate scenes and urban landscapes, photojournalism and advertising imagery, self-portrait and celebrity portrait, as well as photography and painterly procedures.

Over the past decade, her production has focused on the use of printed images sourced from high-quality vintage publications. From this material, she creates meticulous photomontages by cutting illustrations from books on geography, art, and botany, which she then sutures together with needle and thread to construct new images with a subtle three-dimensional quality. These compositions reflect on the constant transformation of matter and experience, where the destruction of the original source enables the emergence of new forms. Engaging with the editorial structure as a system of knowledge transmission, she presents these works in formats that evoke altarpieces or books, inviting viewers to manipulate double-sided panels.

Between 2010 and 2020, she developed the series Impresión, inspired by Victorian hand-cut silhouettes. Using backlit photographic techniques, she condensed identity into the contour of the profile, portraying family members, artists, neighbors, and plants. Since 2019, the Argentine collective Nosotros Proponemos has used several of these silhouettes of women artists in banners carried in feminist demonstrations.

Her experience as a photojournalist has been central to her practice, allowing her to develop a sharp sensitivity to people and public-life scenarios. As the artist notes, her work inhabits “the ambiguous kinship that photography maintains with reality,” navigating the tension between record and construction, information and fiction.

Among her most notable projects are Entrevista (2006–2007), which translates the interview format into a visual sequence; Kiosco (2003–2011), a series of self-portraits with celebrities produced during editorial assignments; A Woman Under the Influence (2007), where she photographs magnetic fields using iron filings; Encrucijada (2001–2003), focused on anonymous figures in moments of urban transit; and Estacionamientos (1999–2000), dedicated to uninhabited urban spaces.

In parallel with her work as a photojournalist, she participated in the Visual Arts Program at Centro Cultural Ricardo Rojas (Kuitca Fellowship, 2003–2005), where she developed a series of portraits of artists in their studios, later published in the book Temporada.

She studied film and photography and has exhibited her work since 1989 in museums and galleries in Argentina and abroad. She was a fellow of the Intercampos II Program (Fundación Telefónica, 2006). Her work is included in collections such as Museo de Arte Moderno de Buenos Aires, Museo de Arte Latinoamericano de Buenos Aires (MALBA), Museo de Arte Contemporáneo de Rosario (MACRO), and the Art Museum of the Americas (AMA), among others.

She has curated exhibitions at the Fotogalería of Centro Cultural Ricardo Rojas and at the Fotogalería of Teatro San Martín. In 2017, she received the First Prize at the Fondo Nacional de las Artes Visual Arts Award. Since 2018, she has been a faculty member in the Electronic Arts program at Universidad Nacional de Tres de Febrero.

In 2024, she participated in Ensayos Naturales II at MALBA Puertos and Inventario at Centro Cultural Borges. In 2025, she presented the solo exhibition Museo a casa at Galería Nora Fisch. In 2026, she participates in ARCO Madrid with the same gallery, consolidating the international projection of her work.

She lives and works in Buenos Aires.