Associação Cultural Videobrasil

Gustavo Galuppo's first video was El Diablo vino a Tucsón, which was exhibited at the 12th Videobrasil International Electronic Art Festival, in 1998. Galuppo's characteristic style was already latent in this first video: black and white images rigorously edited and disfigured through all kinds of manipulations made by the artist. This video was awarded Best Experimental Video at the La Tribu Alternative Video Festival, in Buenos Aires.

The following year, he made two documentaries: Los perros de la lluvia, which was awarded Best Video Documentary at Córdoba Audiovisual, in Córdoba, and Juan, awarded Best Local Video at the Festival Latinoamericano de Vídeo, Rosario, Argentina. These were his only documentaries, though some of his other works reveal traces of this genre.

That same year, Galuppo produced Mala noche and Teoria de los líquidos. The later made way for a kind of video work structured around a theory or a certain field of knowledge, a strategy of the artist to produce works turned to a more reflective approach to the moving image, almost a kind of essay which, in an open, polysemic way, reveals aspects of a theory. Teoria de los líquidos received special mention at the Festival Latinoamericano de Vídeo, in Rosario, Argentina, and was awarded Best Experimental Video at the Festival de Cine e Vídeo de Santa Fé, Argentina.

In 2000, again making use of this metaphor for theories, he produced Teoría de la deriva, an emblematic work made with beautiful fluid, disfigured images that reveals little by little the idea of “the adrift.” Far from reaching a definitive conclusion on this theory, this video displays a profusion of meanings through a fragmented, fluid narrative. The video was awarded with the Silver Award at the JVC Tokyo Video Festival, in Japan, and Best Experimental Video at the X Certamen de Cine e Vídeo, in Santa Fé, Argentina. It was also exhibited at the inauguration ceremony of the Tsushimamaru Museum (Tokyo, Japan), in memory of the nuclear holocaust.

The following year, during the production of the first part of the video La disección de una mujer ahogada, Galuppo became acquainted with Carolina Piva and Fernando Romero; afterwards, they formed the group Vera Baxter. From then on, the group began to develop soundtracks for Galuppo's videos and perform with video projections. This video marked the beginning of his feature production. That same year, Galuppo produced La persistencia de la oscuridad (teoría de los elementos ígneos), one more essayistic work which was awarded Best Experimental Video at the Festival de Cinema e Vídeo, in Santa Fé, Argentina. This video was widely displayed in international festivals and exhibitions.

Based on texts by William S. Burroughs, he produced El Ticket que explotó, in 2002, a kind of science fiction video that dialogues with some of the political happenings in Argentina at that time, and makes way to a deep reflection on totalitarianism. This video was displayed in exhibitions and festivals like the Videospace, in Los Angeles, a video exhibition on economic war, and the 14th Videobrasil International Electronic Art Festival, in São Paulo, and was awarded with the Video Communication Award at the JVC Tokyo video festival, in Japan, Best Experimental Video at the Festival Latinoamericano de video, in Rosário, Argentina, and best experimental video at the Certamen de cine e video, in Santa Fé, Argentina.

In 2003, the first album by the group Vera Baxter (with the soundtrack of the video La disección de una mujer ahogada) was released by the independent record label Astas Romas.

In 2004, Galuppo produced his second feature Días enteros bajo las piedras, followed by La progresión de las catástrofes, a meticulous collage of fragments of films and domestic videos about the impossibility of representing love.