Renata Schussheim, born in Buenos Aires on October 17, 1949, is an Argentine multidisciplinary artist distinguished in costume design, set design, illustration, and visual arts. Her career is marked by the integration of different disciplines and a constant exploration of new creative worlds. From an early age, she was encouraged by her mother to study drawing and painting. At 13, she began training with the painter Carlos Alonso, who helped her find her identity as an artist. At 15, she held her first exhibition at the gallery El Laberinto, with drawings influenced by Hieronymus Bosch.

At 19, she started working as a costume designer, and her work quickly expanded to set design, photography, and animation. Renata has stated that her disciplines overlap organically. In one of her exhibitions, she combined images, videos, performances, and objects, fusing diverse artistic forms.

She has worked closely with musicians such as Charly García, Luis Alberto Spinetta, Walter Giardino, and Federico Moura. With García, she designed the album covers for Música del Alma and Bicicleta, and was responsible for the scenic design of his performances.

In theater and opera, she stood out in productions such as Jesus Christ Superstar, The Magic Flute, and Carmen, staged in major theaters in Argentina, Spain, France, and Chile. She also collaborated with Oscar Araiz on Boquitas pintadas by Manuel Puig.

In cinema, she worked with Héctor Olivera on Buenos Aires Rock (1983) and developed personal projects, such as the set design for a love hotel, exploring intimate aspects of society. Collaboration has been key to her work: she has worked alongside artists such as Marie Orensanz, her mentor, and Jean-François Casanova, from the group Caviar. For Schussheim, mutual stimulation between generations is one of the essential values of art.

She is recognized for having developed the concept of “art of complicity” in Argentina, understanding creation as a collective process. Her figure stands out as that of a collaborator: an artist who dissolves herself in collaboration while producing unique works. She was one of the few artists, along with Marta Minujín, to have a solo exhibition at CAyC under Jorge Glusberg. Her name is associated with a groundbreaking approach to Argentine art.

She has stated that the most important thing is to remain attentive to what inspires her. Her endless curiosity has led her to experiment without attachment to a single discipline. “I’m interested in everything,” she has said. Her work reflects this capacity for transformation, as well as her desire to influence, communicate, and collaborate. In this way, she has established herself as an essential figure in contemporary Argentine art, demonstrating that creativity has no limits and that art is, above all, a space for exchange and continuous growth.