Curriculum vitae and methodology

Roberto Aguerre Ravizza was born in Montevideo. At present he lives and works between Rome and Montevideo. In his Roman atelier he realizes his paintings, sculptures and graphic works.

After graduating from the Faculty of Humanities in Uruguay, he took up historical research until the year 1971, when he moved to Italy where he settled stably. During his last five years in the Uruguayan period he also performed a journalistic role, travelling frequently throughout Latin America and coming across the region’s socio-political issues, taking a particular interest into cultural affairs, which produced manifold articles published in the Montevideo press.

Shortly after arriving in Florence from Montevideo, he directed a one-year seminar at the Consiglio Nazionale delle Ricerche on the subject of the History of Latin-American countriesand carried on researches in cooperation with qualified group of Italian scholars. He later taught Semiotics of Architecture and Visual Arts at the School of Architecture of Florence.

Upon the advancement of his artistic vocation, in the year 1976 he resolved to abandon the teaching profession and devote himself solely to the film and television industry, alternating this activity with sculpturing and graphic art.

His entire film career has developed as a director; he is the author of most of the story lines and all the ensuing scripts.

After a good many short documentary and fiction films, he directed his first feature film Elogio della Pazzia (In Praise of Madness) in the year 1984 in Florence, starring Marcel Marceau, freely inspired in the work of Erasmus of Rotterdam, set in the Villa de Lorenzo dei Medici, at Poggio a Caiano. This work was later followed by Un halo pour la lune pleine (The halo of the full moon) also starring Marcel Marceau, this latter film is essentially a musical.

In 1993 he made a seven-part documentary series entitled Uruguay: history, nature, art and culture, a co-production with the R.A.I. (the Italian television network).

A TV Movie Ojos de Amatista ( Amethyst Eyes ) is dated 1996.

In 2013 he terminates the movie “Nightmares and Dreams” as director and author, starring Gabriele Lavia with the special participation of Leopoldo Trieste. This movie will  shortly appear in the Uruguayan circuit.

At present he is realizing Amor América  ( Love America ), a symphonic poem-cantata dedicated to Latin America, designed for soprano, baritone,  mixed choirs  and orchestra, of which he is the devisor, librettist and artistic director; music composed arranged and directed by Mº Martín Palmeri. 

This opera was recently selected in the 2013 “Program to enhance Latin American Music”  IBERMÚSICAS. Following this recognition, the word premier of Amor América will take place in Cuenca (Ecuador) in June 2014 with the symphonic orchestra of this city directed by  Mº Medardo Caisabanda.

Cantata Amor América




Collective and personal exhibitions and awards since 1980:


  • Triennale di Milano. February 1980
  • Società Umanitaria Award. Milan, June-July 1981
  • Estate d’Arte. Milan, July-August 1982
  • Palazzo Medici Riccardi. Florence, November 1983
  • Galleria Della Bezzuga Award. Florence, May 1984
  • Museum of Modern Art. Saint Paul, November 1985
  • Lowe Award. Buenos Aires, March 1987
  • Desideri Preziosi Award. Rome, December 1988
  • Orogemma. Vicenza, January 1989
  • Macef. Milan, September 1990
  • Oro Capital. Rome, February 1991
  • Sicilia Oro Award. Taormina, March 1992
  • Il Tarin Mostra. Caserta, April 1993
  • Tour del Gioiello. Palermo, October 1994
  • Oroarezzo. Arezzo, January 1995
  • Gift. Florence, September 1996
  • Orogemma. Vicenza, June 1997
  • Oro Capital. Rome, September 1998
  • Orolevante Award. Bari, October 1999
  • Villaseñor Museum. Ciudad Real, February-March 2000
  • Mora Ochando Art Gallery. Miraflores. Madrid, April 2000
  • Una mirada latinoamericana Award. Castellón de la Plana. Valencian Community. Spain, May 2000
  • House od Culture of the Town Hall of San Lorenzo del Escorial. Madrid, April 2001
  • Great Theatre of the Town Hall of Manzanares Exhibiton Hall. April 2001
  • Cultural Centre of the Town Hall of Leganés. Madrid, May-June 2001
  • San José Museum. San José de Mayo. Uruguay, May 2002
  • Palazzo delle Prigioni. Venice. December 2002
  • Art Miami. Florida. January 2003
  • Art Palm Beach. Florida. January 2003
  • Art Form Palm Beach. Florida. March 2003
  • SOFA. New York, May-June 2003
  • SOFA. Chicago, October 2003
  • Aitor Urdangarin Gallery. Vitoria. País Vasco. Spain. October-November 2003
  • Sammer Gallery. Puerto Banús – Marbella. Spain. December 2003.
  • Art Miami. Florida. January 2004
  • Art Palm Beach. Florida. January 2004
  • Art Form Palm Beach. Florida. March 2004
  • SOFA. New York, May-June 2004
  • Cabildo de Montevideo, august 2004
  • SOFA. Chicago, October 2004
  • Art Miami. Florida. January 2005
  • Art Palm Beach. Florida. January 2005
  • Art Form Palm Beach. Florida. March 2005
  • SOFA. New York, May-June 2005
  • SOFA. Chicago, October 2005
  • Art Miami. Florida. January 2006
  • Art Palm Beach. Florida. January 2006
  • Galleria Aitor Urdangarín. Vitoria. País Vasco. Spagna. November 2007
  • SOFA. Chicago. October 2008
  • Art Miami. Florida. January 2009
  • SOFA. Chicago. October 2010
  • SOFA. Chicago. October 2012
  • SOFA. Chicago. October 2013


M E T H O D O L O G Y 

In collaboration with qualified artists in Murano Roberto Aguerre now realizes the sculptures presented in this site, in which gems from South America are blended with crystals and worked out in the Venetian furnaces. The personal glass sculpturing work method involves designing each item on a Macintosh computer equipped with advanced painting, graphics and three-dimensional programs. Unlike sketches coloured in using sundry traditional techniques, this method – to my knowledge used for the first time in works of this kind – allows works to be previewed with high precision over the final result.

The items, with the design arranged on a panel visible to all, are made on the premises where eight furnaces work at the same time. There are six of us working at the site: four technicians, a maestro vetraio or glassmaker and I myself directing and intervening throughout the process. This is not only a remarkably time-saving method but also allows artistic results in which nothing is left to chance.