El cuarto mundo | English catalog of 14 Bienal de Artes Mediales

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EL CUARTO MUNDO (the fourth world)


Santiago, July 2021 First edition Printed by ANDROS IMPRESORES www.androsimpresores.cl 700 copies

The Roboto, Roboto Mono and Roboto Condensed fonts by Christian Robertson were used in this book's design.

The interior is printed in 4/4 color on 90 g Bond Paper. The cover has 240 g unprinted Color Plus black cardboard flaps with a partial UV coating on the front.

Thread and hot melt binding.

This work © 2 by C is licensed from Attribution-NonCommercial-NoDerivatives 4.0 International. To see a copy of this license, go to http://creativecommons.org/ licenses/by-nc-nd/4.0/





EL CUARTO MUNDO. ORIGEN Y RECONSTRUCCIÓN (the fourth world. origin and reconstruction) 23

EL TERCER PAISAJE (the third landscape)


LOS LÍMITES DE LA TIERRA (the limits of the earth)


CIEN ES UN COLOR (one hundred is a color)


MUNDO SITUADO (situated world)




∞ (INFINITA) (infinite)


TAYPI. 10000 SOLES (taypi. 10000 suns)




ARQUEOLOGÍA DE LA LUZ (archaeology of light)


TAUTOLOGÍA SIN TÍTULO (untitled tautology)


FOCO DE ESCUCHA (focal point of listening)


JARDINES HUMANOS (human gardens)


SED (thirst)


SIMBIOSIS MEDITATIVA (meditative symbiosis)


NATURALEZA HUMANA (human nature)


MICROINFINITO (microinfinite)




CAMPOS MAGNÉTICOS (magnetic fields)


ESCUELA DE LA INTUICIÓN (school of intuition)











The Biennial of Media Arts is a space for dialogue amongst the arts, sciences and humanities that privileges the concept of work, production processes, the public domain, reading and circulation systems, as well as symbolic poetics and a critical reflection of the social context from the perspective of art.

The arrival of the 2019 Biennial of Medial Arts at the National Museum of Fine Arts in its fourteenth year has a certain feeling of "occupation" and consequently of relocation. Artists, technicians, and organizers all come and go, taking their positions in the hall and filling up the exhibition area on the second floor of the museum. In addition to materials and implements of all kinds that test the technical infrastructure of the museum, a shipment of native plants has arrived and gets installed in the hall, recreating a part of the 1910 garden. They contrast with the sophisticated technology suggested by many exhibition projects.

Its fourteenth edition was devoted to thinking about "The Fourth World", a utopian place that offers us the opportunity to reflect on the current state of socio-environmental crisis through the relationship between the arts, science and nature. The title is inspired by the work of Chilean artist Carlos Ortúzar (1935-1985), originally located at the UNCTAD III headquarters, a building that underwent a historic evolution over time. The sculpture, the result of a profound convergence between arts, crafts and public space, was materially recreated to inaugurate the biennial and served as the core of orientation for the various venues in which this artistic encounter took place. Conceptually, the piece evokes a space of renewal, a world unaligned from the economic/extractivist dynamics, where one finds fissures in the saturation - tangible and intangible - of the current conditions of perceptual infoxication and environmental contamination.

This set of operations orbiting around the notion of "fourth world" also included the reconstruction of a lost piece by Carlos Ortúzar appropriately titled El cuarto mundo (The Fourth World) in the space near the GAM. It also resonates with a variety of installations in other museums and exhibition centers. It is an interpretative variation of a concept that emerged in the 1960s and combines criticism and utopia with respect to the environment we inhabit. The installation of the biennial has suggested an understanding of "media" as an expanded field that ranges from various forms of light projection and technical performance, even approaching robotics, construction operations or constructive demolitions. Sophisticated devices coexist with traditional or alternative works of art, while the reference to the environment ranges from the microscopic to the astronomical.

To conceive of another world is to admit there are other possible ways of living, other scales, other perspectives different from the human one to test alternative ways of interacting among its inhabitants. In light of this, the 14th Biennial was proposed as a field of exploration of the different forms of existence that, now in the 21st century, experiment or seek the fringes of modernity and explore methods to understand nature without reducing it to a mere resource or service.

The opening on October 17 brought together a large audience worthy of the effort that included the MAC side of the museum, thus uniting the entire Palacio de Bellas Artes (Palace of Fine Arts) once again. The social movement that was launched the next day abruptly constricted the biennial. It essentially became available only to organizers, museum staff and the occasional visitor, provoking a mixture of frustration and hope in participants and organizers alike.

Combining the logics of vertigo and intuition, the mechanisms of precision, archiving and interconnection, we sought instruments that could observe, explore and act upon the conditions of the current socio-environmental crisis from multiple scales and perspectives. We also looked for pieces that could envision strategies of adaptation, balance, resistance and change capable of tracing alternative routes to the world as we know it.


Epilogue: the biennial was briefly opened to the public during the month of December.


el cuarto mundo (the fourth world)




A forerunner. This is what Néstor Olhagaray was, first and foremost. A video artist, teacher, intellectual, manager, researcher, curator and arts writer. But in essence, he was a creator who pointed out paths for the development of our country's culture. It is precisely the vast diversity of his artistic practice that left his mark in different areas of the national scene, which has so much mourned his departure.

As a Foundation, we believe that imagination and creativity are an essential part of our lives, and we are convinced that art offers us the possibility of exploring the world through different perspectives, of transporting us and transforming us into better people. This Biennial integrates the arts, sciences and nature, and invites us to reflect on a balanced relationship between humans and the ecosystem.

The fact is that the man we know as the founder of the Biennial of Media Arts dedicated his entire life to art, to the search and experimentation that resulted in the creation of this space, where he welcomed and trained generations that found meaning and belonging in his transmedia exercise. Its history is also that of a key moment in the cultural evolution of Chile, which was relaunched in the 1990s after the return of democracy.

We are proud to see the result of this public-private partnership, which allows children, young people and adults to enjoy this remarkable display of new expressions of the audiovisual arts through over 50 artists from different continents. The fact that we are present here makes us responsible for disseminating these views and transmitting the message of those who have made it possible to imagine this fourth world.

His critical, sharp and ironic view of society and its ups and downs, led him to anticipate reflections that today, in view of the cultural process our country is undergoing, make more sense than ever. Some examples are the relationships we establish with technologies or the way in which art and its diverse interpretations are projected as an unapproachable engine of knowledge. His outstanding ideas on Juan Downey, on new devices, and their functions and narratives in art have undoubtedly already gone down in history. The same goes for his ability to create networks for new languages, not only from his practice as an artist, but also as an educator and from the management and exchanges with international institutions, encouraging partnership among creators. In 1993, together with a group of artists, he founded the Corporación Chilena de Video (Chilean Video Corporation) and the current Biennial of Media Arts, an event that established itself as an essential space for welcoming new artistic and cultural practices. It is also a key partner for our Ministry of Culture, Arts and Heritage as a collaborating institution. Nearly 30 years after that milestone, the 14th Biennial of Media Arts was inaugurated under the theme of "The Fourth World" in 2019 in the midst of the social outburst. From this curatorial reference to the namesake sculpture by Carlos Ortúzar, the challenge was to reflect upon the new relationship between humans, nature and technology, and on the intersection between art and science. An encounter that, in the light of the pandemic we are facing today, makes so much sense as we strive to sustain our ways of relating to each other. During these months we have nurtured that bond and need for closeness, using digital tools, which have been a bridge and a refuge for protecting our mental health. I have no doubt that we are experiencing a fruitful period of creation. This situation will provoke reflections and works that will be with us for a long time. The fact is that art shows us ways to shape what is to come as Néstor Olhagaray always did working hand-in-hand with this project. I thank the team that makes the Biennial of Media Arts possible for their relentless efforts and conviction, the consummate way to preserve the teachings of the master.



el cuarto mundo (the fourth world)


VISIONES ECOSISTEMICAS (ECOSYSTEMIC VISIONS) CONSTANZA GÜELL FOUNDER AND CO-DIRECTOR ANTENNA FOUNDATION «En un libro, como en cualquier otra cosa, hay líneas de articulación o de segmentaridad, estratos, territorialidades; pero también líneas de fuga movimientos de desterritorialización y de desestratificación».

creative and research work of artists, curators, intellectuals, scientists and cultural agents, at the service of the multiple audiences it calls together. It was an interesting experience for Fundación Antenna to be part of the 14th edition, "The Fourth World", joining as a partner in processes that aimed to disseminate the contents of the Biennial and to think together in new ways about activating and commissioning works and activities that could be jointly undertaken while seeking the intersection of the public and private worlds.

(In a book, as in all things, there are lines of articulation or segmentation, strata and territories; but also lines of flight, movements of deterritorialization and destratification) Deleuze y Guattari Rhizome (Introduction to A Thousand Plateaus)

Participating in the Biennial allowed us to approach a process of collective reflection that manifests itself from different dimensions and connects us with today’s social fabric and context. During the process, we also shared values such as empathy, collaboration and diversity, which go hand-in-hand with our foundation and our mission to connect people with arts and culture.

We understand biennials as cultural spaces where multiple points of view converge and come together to engage in dialogue. Spaces where the word culture, of Latin origin cultus, refers to the cultivation of the human spirit and intellectual faculties, meaning the action of cultivating the spirit and the intellectual faculties of the human being.

Art, music, audiovisual. Environment, nature and science. Society, social outburst and politics. All fields of interaction and dialogue that constituted the 14th Biennial of Media Arts, leading us to observe reality from the curatorial, research and mediation perspectives proposed through a programmatic grid that included several spaces such as the Museo Nacional de Bellas Artes, Museo de Arte Contemporáneo, Centro Cultural GAM, Museo de Artes Visuales, Museo del Hongo and Museo Benjamín Vicuña Mackenna, among other supports and formats available in the digital culture.

We can also understand culture as the social fabric that encompasses the different forms and expressions of a society: customs, practices, ways of being, the arts, rituals, clothing, norms, how we live, and how we speak. All of these aspects that form a culture most definitely converge in the biennial. Other inevitable concepts also arise in these encounters, such as coexisting (living in the company of others) and conversation (really attending to others, listening, letting their points of view be heard, and putting one’s self in another’s shoes). Culture and the arts truly bring us together, elevate our souls, expand our knowledge and develop people and societies as a whole. That is why these spaces of freedom and dialogue are necessary to feel good and inspired.

The residency programs, the Juan Downey Competition, seminars, conferences and training activities at the Escuela de la Intuición (School of Intuition), along with collaborations with astronomical observatories and scientific centers such as ALMA in Chile and Cern in Switzerland, build a multiplying - or rhizomatic - scenario that helps amplify the notion of culture and its importance, where the role of artists, creators and scientists must be highlighted.

We believe that the country's mission and the social transformation that lies ahead of us lies in culture. Especially when it is generated through crisscrossing and connecting various fields as the Biennial of Media Arts has been doing for several decades.

In such a context, we quote Jean-Paul Sartre published by Rotunda Magazine on October 18, 2020: "It is true, then, that a work of art is both an individual production and a social fact" (Literature and Art - Situations, IV).

Reviewing previous editions such as "Resistencia" (2009), "Deus ex Media" (2011), " Autonomía" (2013), "Hablar en lenguas" (2015) and "Temblor" (2017) up to the most recent, "El cuarto mundo" (2019), we observe how connections have been systematically constructed among the arts, sciences, nature, technology, society, education, training, production, research, conservation and dissemination. All of paths open us to new areas of exploration, both individually and collectively. The Biennial of Media Arts is an emblematic case in our perception of that ecosystemic vision, which connects and builds alliances, projects and concrete actions around the



el cuarto mundo (the fourth world)


EL CUARTO MUNDO. ATLAS DE ASEDIO Y UTOPÍA (THE FOURTH WORLD: ATLAS OF SIEGE AND UTOPIA) CATALINA VALDÉS CO-CURATOR OF THE 14TH BIENNIAL OF MEDIA ARTS OF SANTIAGO When we visited the site of its replacement, Carlos Ortúzar's sculpture El cuarto mundo (The Fourth World) was revealed to us as a map. The pendulum spheres, the empty circles, the inclined axis, the composition around the number four, its location in the city, the metal, the reflections and the cement, its disappearance... everything became an indication of a place we were not going to reach if we tried to access it exclusively through abstraction. There are mathematical clues in the sculpture, yes, but also a Mapuche sense of location, memories of a utopian construction, vestiges of its destruction and a landscape logic that seemed to make everything fit together. Those clues contained in Ortúzar's work remained open, brilliant and silent, just like the spheres spinning amidst the smoke of the tear gas and the shouts of the October explosion (silent like those other spheres, the first ones, spinning amidst the smoke of the bombing in that other explosion, the one in September, which made them disappear for a while). The mute track, which indicated a lost, destroyed, forgotten, unrecognizable place (will it ever be restored?) guided us during the time we were preparing this biennial and invoked a sense of urgency in our work because we knew, without being able to foresee the consequences, that we were reinserting a key in a meridian point of Santiago.

political knowledge of the territories addressed. As sensitive forms coming from nature, these works are a record of the processes of deterritorialization of materials and the fading of the ties that connect a place with both human and beyond human communities that inhabit it. By showing them gathered here in the form of an atlas, we can orient our perception and broaden the means of returning to landscapes, now converted into agents of restoration and protection.

MINERAL REGION Solo tendrás piedras (You will only have stones). This must be how the agents of mineral extraction understand the landscapes of northern Chile; only as stones, as if there were no life in the desert. Solo tendrás piedras is the title of Alejandra Prieto's work, a short film that refers to the destruction of fragile ecosystems such as the one that makes up the Uyuni salt flat. This landscape looks like it belongs to another planet and is subjected to aggressive actions that alter millennia of geological creation to extract lithium, one of the raw materials that feeds the insatiable system of production of objects and technological waste. And if the desert contains stones that hold rare minerals, it also contains water. Claudia Gonzalez's work, Hidroscopia / Loa (Cu) included the Loa River as a body burdened by violence, pollution and oblivion, besieged by large-scale copper mining and disregard for the communities and the ancestral agricultural methods in the valley. By means of electric channels conducted by the river water, the artist brings us the sound of the pollution caused by mining tailings particles being carried along by the river as it traverses the desert like a current of resilience. These works seek to sensitize us to what the environmental sciences demonstrate through complex formulas. They stand as denunciations of the alterations that mega-mining exerts on extremely fragile ecosystems, contrasting the beauty and complexity of nature's open codes with the violence, usury and inefficiency of the exploitation technologies, but they do something more. They show that in the mineral world, those stones are alive. They are in constant mutation, generating forms, releasing energetic discharges, interacting with other bodies, with water and plants imprinting their tracks. This life is enhanced by the work of the agronomist Josefina Hepp, who brought to the museum portraits of dormant seeds collected in those same landscapes surrounded by mining tailings. An enlarged image that gives access to their complexity, evidence that these seeds contain a key to survival encrypted in biological diversification, something that can guide us towards other forms of adaptation.

Shortly after leaving the sculpture on the esplanade of the Gabriela Mistral Cultural Center, a drinking water distribution main broke, flooding an important artery connecting the upper and western districts of the capital and leaving a large part of the downtown area without a water supply. Water, such a privatized and contaminated common good, running out of its pipes, was very similar to the herds of high school students who jumped over the turnstiles of the subway in those same days protesting against the fare increase. The water and the students, running with a sense of urgency much greater than ours, were the spearhead that opened the way to the revolutionary movement that ignited the city and then all of Chile. Repression came very quickly to confirm the strength of this movement. Neither the declaration of war that the president enunciated against the people nor the extreme violence of the police managed to stop the stream of people, banners, fires and shouting. All this was silently reflected in the spheres of El cuarto mundo. And a sense emerged from those reflections: El cuarto mundo could be a map of besieged and promised lands, making this biennial a sort of atlas, as incomplete as it was provisional, of conflicting socio-environmental zones1 and utopias. In this atlas, the works that made up the seventeen exhibitions of El cuarto mundo were not representing specific places, but the dispute between landscapes and their exploitation and the vindication of the right to imagine other landscapes. The dynamics of violence and escape that these works staged arose from the artists' work in the field and in their workshops, as well as from the dialogue with specialists and communities, bringing together local, scientific and 1 His idea is based on the Map of Socio-environmental Conflicts in Chile, a project of the National Institute of Human Rights initiated in 2012 and permanently updated. It can be accessed at: https://mapaconflictos.indh.cl/#/. Also, from the didactic Atlas Dimensión socioambiental de los conflictos territoriales en Chile, created by the Observatorio Latinoamericano de Conflictos Ambientales (OLCA) and the Geografía Crítica Gladys Armijo collective, published in 2016 after five years of work. Download it here. Descárgalo aquí: http://www.geografiacritica.cl/.



Chile's mining region is not limited to the desert. It expands southward as a frontline soldier of the desertification of the national terrain, spreading voraciously through the Andes Mountains, destroying glaciers, contaminating basins and valleys, besieging towns and cities. Ignacio Acosta's work presents the conflict between preservation and exploitation, taking the case of the Juncal Andean Park, located on the slopes of the summit near the source of the Aconcagua River. His work brought to the museum a mining monolith and with it, the schizophrenic definition that the current Chilean constitution has of nature: a subsoil separated from the landscape above it and water that is defined as private

el cuarto mundo (the fourth world)


property alienated from the land it is part of. The entire mountain range from Colombia and Venezuela to Patagonia is today an immense agonizing body that mutates instead of dies. That was Desborde, Josefina Guilisasti's sculpture, which is a chain of mountains sculpted in beeswax that melts before the compassionate and affectionate gaze of a geographer and an eco-anthropologist who have dedicated their lives to getting to know the range

promoting homogeneity as a principle of resilience. One of the questions we asked Miguel Georgieff, a member of the COLOCO landscape collective and collaborator of Gilles Clément in urban vegetation projects, is how does the plant world live in a big city. The Derivas del tercer paisaje (Drifting of the third landscape) led us on a walk around Santiago looking for grass, seeds, trickles of water and the wasteland where the third landscape sprouts, the weeds that grow without our having cultivated them and without being able to control them. Santiago also became a focus of experimentation and interspecies coexistence by joing the world of fungi, the beyondvegetable space. The mycological and curatorial collective Museo del Hongo inoculated the Museo Nacional Benjamín Vicuña Mackenna to create the group show ∞ (Infinita) by intervening the building with a bio façade, opening up a garden to the public where a fountain incubated edible species of mushrooms. The mycelia infiltrated the heritage collection of this museum and penetrated with virtual reality into our imaginations. With these herbs and mushrooms, new stories of Santiago must sprout to make the capital a compostable city.

VEGETAL REGION "Jardín planetario" ("Planetary garden") is the term proposed by French gardener and philosopher Gilles Clement to express his conception of the world: understanding the planet as a garden means accepting its limits and recognizing that it is a place to be cared for. The synchronicity of this proposal with that of the Kinder Planetario by Chilean photographer Sergio Larraín filled one of the halls of the Museo Nacional de Bellas Artes, triggering a dialogue of landscapes with several works from the museum's collection. A single wall hosted the works of a genealogy of planetary garden painters: Natalia Babarovic, Adolfo Couve, Pablo Burchard and Pedro Lira; Juan Francisco González, Roberto Matta and Luis Rojas Quijada, Sergio Montesinos, Manuel Gallinato, Voluspa Jarpa, Gregoria Larrain, Francisco Samper and Gracia Barros; Juan Downey, Julio Escamez and Juan Navarro Baldeweg... going from fences to crops, to return to Wilma Hanning's stone seed. The chorus of these diverse voices invoke the revegetation of the world as an action to cultivate. With this wall the place of utopia opens up in the atlas.

WATER REGION The traffic of minerals, timber, fruits, and of things both made and unmade transforms the Pacific Ocean into an immense runway for the transit of transoceanic ships that disperse the material extracted from the quarries and forests to the centers of world industrialization. The harmful consequences of this massive transfer of materials are virtually endless. Among them, noise and magnetic pollution of the seas which affects the orientation senses and forms of communication of large sea mammals. With Umbral, Denisse Lira-Ratinoff sought to open the gateway to an interspecies understanding in order to equate the suffering that a sick human can endure with the uprooting that whales experience in the Pacific.

This utopia was made material by declaring that works of art can serve as incubators of possible worlds in which plants and humans interact at the same level. That was Philip Klawitter's Microinfinito and Simbiosis meditativa made by the interdisciplinary collective of Jean-Danton Laffert, Karin Astudillo and Camilo Gouet. These works reveal the generation of life on a small scale through the integration of methods and tools from the media arts, philosophy and botany, giving rise to a perspective that allows access in short periods of time to processes that in nature take place over a long period of time. In so doing, they broaden our perceptions, allow access to beyond-human senses, channels through which water, light and plants, for example, maintain communications that are not normally available to us.

The geological time of minerals and the biological time of plants is manifested in a sort of geography of water displayed in Gianfranco Foschino's exhibition Sed. On each expedition, this traveling artist sharpens his recording instruments to reveal the dynamics of flow, condensation and evaporation that are increasingly threatened by the deregulation of the Earth. From glaciers to mist, from rivers to the body itself, water moves and in that movement brings new life. In another exploration the KMChK Lab collective, comprised of Mauricio Lacrampette, Sebastián Aravena and Felipe Cisternas, designed a light instrument to capture the desert fog. The camanchaca, a mantle of water that covers the pampas of northern Chile to germinate life that is practically imperceptible to human perception, was portrayed by artistic visualization instruments that complement - and challenge - the methods of scientific measurement. Thus, the key to beauty becomes part of the ways of understanding nature.

One of the premises of Clément's "Planetary Garden" is that there are no exotic or native plants, since the limits are externally imposed and plant species circulate, just like everything else on earth. With this deep sense of migration in mind, the work of Agencia de Borde, an artists' collective formed by Paula Salas, Rosario Montero and Sebastián Melo, sought the improbable connections that run through our minds when we find ourselves in front of a eucalyptus tree. This species, acclimatized to practically all of the landscapes on the planet, was introduced as a sort of weapon of mass reforestation. Valued for the rapid appreciation of its timber, condemned to monoculture, very flammable and demonized for its high level of water usage, the eucalyptus warns us of the dangerous consequences of



el cuarto mundo (the fourth world)


Sebastián Maquieira did something similar with a landscape of modern ruins. A bridge split into three parts crossing the Maipo River is transformed, by the grace of poetry, into a space-time ship. La deriva de los horizontes (The drifting of horizons) was the transmutation of the concrete remains of the Lo Gallardo bridge that became a connection from ancestral to modern times, the sea and the mountain range, honoring the course of this mistreated river from its source in the Cajón del Maipo to its mouth in San Antonio.

A small forest of this type of tree was part of Taypi. 10000 Suns, a group of works that revolve around the sun as a source of energy, as a natural technology and as the guiding axis of the ancestral Andean culture. Together with the Aymara sociologist Silvia Rivera Cusicanqui, the artist aimed to reactivate the ritual dimension of nature. Delira was also a ritual, but in this case a cosmic and posthuman invocation, too. Using copper as a conducting material, Nicole L'Huillier brought a small robotic guerrilla army to life or if preferred, another choir intoning the mythological, pre-rational, poetic and stellar voices that reclaimed science and fiction as human tools for protecting life.

HUMAN REGION (HUMUS) 2 To cultivate a common horizon between the human, the mineral and the vegetal is to assume a critical stance in the face of the history of the Western sciences, which has implanted – as it still does - a violent split between culture and nature. Jardines humanos was the work of Francisco Navarrete-Sitja that explored this division through an audiovisual dialogue with a selection of anthropology, travel and naturalism books from the Library of the Centro Patrimonial Recoleta Dominica. This work is a sort of bridge between utopia, or the planetary garden in which we humans are integrated as another species into the landscape, and the atlas of conflicting socio-environmental zones that this biennial also illustrates. It reveals the historical roots of the colonial order that divides the planet, installing fences that neither the declarations of human rights, nor the constitution, or any other mechanisms that regulate social coexistence have been able to tear down. In the name of this colonial order, forests and savannahs have been razed, rivers have been exhausted and human and non-human communities have been extinguished forever. This is the denunciation raised by the installation composed of the works Miss Universal Destiny and Escenas de caza by Juan Pablo Langlois. There are many stories of violence contained in these sculptures including the definitive transformation of ancestral landscapes with the creation of European colonies in Tierra del Fuego.

In this region where the human is connected to the soil, Tótila Albert's La Tierra and Benito Rosende's Jardín Vertical flanked the hall of the Museo de Arte Contemporáneo, reflecting movement as a permanent state and precarious equilibrium as a guarantee and condition of life. Germination and birth, words that guided the magical sculptor, converge in the awareness that the human and the vegetable are equivalent lives and between them there are communicating vessels that we can still cultivate in a new alliance for the survival of life.

THRESHOLD REGION The past and the future are two points that rub together when we allow our imagination to peek into the crease of the timeline, when we free ourselves from the fear of uncertainty. That is what happened in Dar reversa, a piece by Sebastian Preece. The artist scoured the walls of the Palace of Fine Arts, in an archeological gesture that extracted layers of the past to reveal a window to the future: a threshold of uncertainty where time reveals itself in its true spiral form. During the brief period that the window remained open, we saw the water continue to run out of the pipes, the students at the forefront of a country in turmoil, the spheres of El cuarto mundo reflecting the fire of the burned streets with the landscape ever present in the background; that other immense threshold, the mountain range.

The memory of millenary forests of sawed larch and araucaria trees intertwines with the memory of past and present aggressions against the Mapuche people. Etienne de France's Against the Drought of Signs brings stories of resistance of human communities and trees, stories that cross time and continents to reach a present in which the Mapuche culture is vindicated in the voice of Leonel Lienlaf and the Pehuén Forest is preserved and restored. But we know that this is a very exceptional conservation experience, a sort of island of care in the midst of the voracity of the forestry industry that is advancing, violating communities and razing forests, increasingly towards the north of the Mapuche and Chilean territory. Monoculture forestry and toxic agriculture have also reached the fragile ecosystems of central Chile where in addition to being cut down and replaced by productive species, they are being threatened by a persistent drought. This is the case of the sclerophyll forest, embodied in Elisa Balmaceda's work with the quillay tree, one of its characteristic species. 2 Both the Chilean biologist and philosopher Ricardo Rozzi and the American zoologist and philosopher Donna Haraway have explored in various publications and lectures the etymological connections between the terms human and humus, which refers to the Latin notion of soil.



el cuarto mundo (the fourth world)





origin and reconstruction)



El cuarto mundo was a sculpture created by Chilean artist Carlos Ortúzar (19351985) and installed in 1972 on the north patio of the Gabriela Mistral Cultural Center. In its first version, the work represented a warning against the distinction between the "first, second and third worlds". This division expanded the effects of the industrial revolution to a global scale and affected all beings on Earth, assuming them to be consumer goods or raw materials. After its disappearance in 1973, the work was revived to form the axis of the 14th Biennial of Media Arts, an orientation mechanism to journey through imbalance with constant movement and multi-stability. The convergence of ideas, arts, trades, culture, science, politics, technology and collective action that marked the initial existence of this sculpture was reactivated in the 14th Biennial to explore other ways of existence. We seek to reactivate this work for the 21st century, aware of the integration of digital technologies in a large part of social processes, the infoxication produced by media saturation and the overexploitation of ecosystemic entities, now reduced to resources and services.

Photography by Armindo Cardoso, 1972, Colección Biblioteca Nacional


el cuarto mundo (the fourth world)

villavicencio building



The «cuarto mundo» or fourth world was a concept that in the mid-twentieth century stood in for the most marginalized segment of the capitalist and developmentalist order. The UNCTAD III building and the works set up there in 1972 were an attempt to reverse this order.


Just like this utopia, the El cuarto mundo piece disappeared after the 1973 coup d'état. The Maestranza JEMO workshop was in charge of its original fabrication and in 2019 built a new version to replace it as part of the 14th Biennial of Media Arts of Santiago. In the absence of plans for the reconstruction of the piece, JEMO's engineers and the Chilean Video Corporation team calculated its measurements based on multiples of four.

Carlos Ortúzar (1935-1985) was a Chilean

Carlos Ortúzar, fourth world, public art, UNCTAD III, art and industry, steel, concrete

artist and professor. His work is an example of the crossovers between art, science, technology and nature that inspired the 14th Biennial of Media Arts. Understanding art as a collective work, Ortúzar teamed up with intellectuals and artists such as

The water fountain of the original sculpture has not been rebuilt in this new version, keeping it mobile until it becomes clear how the Villavicencio building will be used.

Eduardo Martínez Bonati, Iván Vial and Angélica Quintana to develop a piece that was especially sensitive to the urban space. This collaboration gave rise to some of

Collaborators: Sucesión Carlos Ortúzar, Grupo JEMO, Ministerio de Bienes Nacionales, Centro Cultural Gabriela Mistral, Corporación Chilena de Video.

his most emblematic works: the Mural Paso Inferior Santa Lucía (1970), El cuarto mundo (1972) or the Monumento General Schneider (1971-1974). The artist took guidance from the landscape of Santiago and used industrial materials and abstract forms of large scale and poetic eloquence in these works.

Photography by Armindo Cardoso, 1972, Colección Biblioteca Nacional


el cuarto mundo (the fourth world)

villavicencio building



El cuarto mundo by Carlos Ortúzar was conceived with the purpose of enhancing the main entrance to the Torre building located on Villavicencio Street. It was an open, ample space through which one could move freely between that street and the Alameda avenue.

Miguel Lawner (Santiago, 1928) graduated in 1954 from the School of Architecture and Urbanism of Universidad de Chile where he was also a professor.

We were never able to deduce its fate. No one has ever explained what happened to it, nor to most of the works of art that formed part of the architecture and design of the building. Paintings, textiles, lamps, sculptures and handicrafts made by the most distinguished Chilean creators disappeared.

During Salvador Allende's government he

Carlos designed it as a way of honoring the "fourth world", a common expression in those years to define the countries of Africa whose liberation from colonial empires happened over the 1960s.

was Executive Director of the Corporación de Mejoramiento Urbano (CORMU). Some of his works at that time were

These were nations that found themselves deprived of the most basic services after gaining their freedom such as schools, hospitals, basic infrastructure in cities and rural areas, etc. The definition of the "fourth world" arose out of the "third world", which was used to describe developing countries such as ours.

the Cormuval housing project between Santiago and Valparaíso and the Villa San Luis housing complex. He also

Cultural Center. After the coup d'état he was held in various detention centers including Isla Dawson. Lawner went into exile in Denmark, where he taught at the

It was a masterful conception that aroused widespread admiration.

The sculpture was recently rebuilt and placed in its original location thanks to the generosity of the current owners of the Maestranza JEMO, who not only built Carlos Ortúzar's work, but financed its reconstruction and installation as well.

participated in planning the UNCTAD III building now called the Gabriela Mistral

Carlos envisaged his sculpture as the Earth with four perforated wings and a slightly tilted axis, just like our planet. He placed it on a concrete pedestal in the center of a body of water that gracefully reflected the sculpture.

It is an attack on our culture that has never been elucidated. For us it is a pending matter that must be sanctioned accordingly.

Ortúzar's cuarto mundo is part of the enormous collective enthusiasm generated by the construction of the building for UNCTAD III. It is a demonstration of the infinite creativity generated by a political and social atmosphere in which solidarity and fraternity prevail. Ultimately, where we all share a commitment to the common good.

Goethe University of the Federal Republic of Germany and at the Royal Academy

Representatives from recently liberated African countries attended a World Assembly here for the first time. Most of them wore colorful costumes, fascinating the Chileans who were not used to such displays of ethnic diversity. The significance of Carlos Ortúzar's sculpture soon spread among the African delegates and an uncommon occurrence materialized when representatives of those countries asked to be photographed next to it. How many people around the world keep a memory of their visit to Chile by posing next to Carlos' sculpture?

of Fine Arts in Denmark. He returned to Chile in 1984. Lawner is still working on social architecture projects today as well as investigating and denouncing human rights violations committed during the dictatorship. He was part of the planning and development of the construction of

After the coup d'état and as soon as the curfew was lifted, Sergio González, a member of the team of architects who designed the building, came to visit UNCTAD III. He naively thought that the military that had already installed itself inside the building might require some information. They would not let him enter from Villavicencio Street, but he did manage to see that Ortúzar's sculpture had disappeared.

the Museo de la Memoria y los Derechos Humanos (Museum of Memory and Human Rights).

Within four days of this assault on power, the armed forces ignored the artistic merits of Carlos Ortúzar's work and simply made it disappear, just as they had done with thousands of people.


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EL CUARTO MUNDO (THE FOURTH WORLD) ERWIN BREVIS VERGARA TECHNICAL SECRETARY COUNCIL OF NATIONAL MONUMENTS Today we begin a journey into the past. Or into the future. It all depends on the perspective. Let us look with the eyes of the past, of 1972 when a valuable joint effort erected this building to house the Third United Nations Conference on Trade and Development in the Third World or UNCTAD III. It was accomplished it in 275 days with thousands of volunteers, although it was not just a building. Adorned with the works of 35 artists, it became an open-air museum, accessible to everyone in the public space, a visionary idea rarely seen before.

At the Council of National Monuments we hope that experiences like this will continue being replicated throughout the nation. We are certain that this serves as a concrete action for recovering memories and enhancing the artistic heritage of the country. We work toward the betterment of art and heritage in the city along with access for everyone.

Carlos Ortúzar's El cuarto mundo (The Fourth World) was placed here welcoming visitors at the north entrance of the building. This three-dimensional steel sphere with intertwined discs and moving circles in the middle was a daring mixture of art and industry intended to depict the social vision of this remarkable architect. It was a warning against the hateful distinction between the "first, second and third world" referring to the post-industrial revolution global divisions and the "fourth world" of the marginalized, the unprotected, the abused. It was only in the building for 17 months. The sculpture disappeared days after the coup d'état along with about 20 other works of art. Its whereabouts were never uncovered, but by that point had already become an icon in the city. Now, let's look at it with today's eyes. The building houses the GAM Cultural Center, one of the most relevant spaces for the dissemination of culture and the arts and one of the most important collaborating institutions of the Ministry of Culture, Arts and Heritage. We can now enjoy this new piece, which was returned to the location it should have always been in as it rearranges the original public space of a project that is symbolic for Santiago and the country overall. It is undoubtedly a cultural landmark that appeals to the essence of heritage: redeem and recover to preserve, value and maintain the heritage for future generations. A virtuous public-private alliance between the Ministry of National Assets, the curators of the fourteenth version of the Biennial of Media Arts, the Gabriela Mistral Cultural Center and the JEMO workshop made it possible for us to get to know Carlos Ortúzar's work again. This reinterpretation was achieved by using photos, recollections, stories and memories, and it was done cooperatively, similar to the process used in constructing the original. After 46 years, we now have the privilege of making our own readings of El cuarto mundo It continues to represent a cultural vanguard that characterized a whole generation of artists: Nemesio Antúnez, Gracia Barrios, José Balmes, Marta Colvin, Mario Toral, Roser Bru, Mario Carreño, Federico Assler, Santos Chávez, Sergio Castillo... The list is long.


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RECONSTRUCCIÓN (RECONSTRUCTION) JUAN CARLOS MARTÍNEZ MANAGER OF JEMO COMPANIES On January 23rd I received an e-mail from Enrique Rivera, director of the Biennial of Media Arts of Santiago inviting us to be part of the reincorporation of the sculpture El cuarto mundo by Carlos Ortúzar. To my surprise, Enrique said that this piece was made at Maestranza JEMO S.A. in 1972 and even attached a photo from that time. It was clearly an interesting project and the fact that our grandfather was involved made it emotionally resonant. I discussed it with my brother Cristián who is involved in the arts and culture scene in Chile, and we immediately decided to be a part of this project.

Juan Carlos Martínez Cáraves, is a 50-year-old Industrial Civil Engineer with an MSc in Industrial Administration and current Manager of JEMO Companies where Ortuzar's cuarto mundo was built in 1972. In 2019 he was part of the process of reinterpreting and rebuilding the piece that has now be installed in its original location.

We began to meet with Enrique and Felipe Mella, director of the GAM, to draw up a road map and see how to replicate this work. We only had photos, but no plans or sketches to copy from. We decided to take time to investigate along with those who were connected to the piece to try to find valuable information that could help remake it as faithfully as possible to the original. Unfortunately, after trying to contact the architects and the family of Carlos Ortúzar for over a month and trying to contact people who worked in the company at the time, we were unable to gather any additional information that would inform us as to the sculpture’s dimensions.

Cristián Martínez Cáraves, is a 39-year-old with a Bachelor of Arts and Master’s in Conservation and Restoration of Cultural Heritage and works in the visual arts field with a focus on museology, marketing, conservation, communications and administration. Today he works as a professional in charge of the conservation department of Museo Ralli Santiago.

Perhaps then in tribute to Carlos Ortúzar, given that the work is titled El cuarto mundo, we met and agreed to use only multiples of the number four in the dimensions. Its diameter, interspersed circles, thickness and inclination all use measurements based on this number. The biggest surprise was when we graphically modeled the sculpture that these individual measurements and their overall set harmonized in such a way that we couldn’t find any differences compared to the original. It may very well have been Carlos Ortúzar himself used this criterion to create the piece. We would like to believe this is the case.

Francisco Martínez Cáraves, is a 44-year-old with a degree in Business Administration and a minor in Logistics. Today he works as Sales Representative of the company Postes y Torres JEMO and is part of the third generation of owners of the JEMO Companies Group.

Once this version was accepted and we had the family's permission, we started with the structural calculation and then with the construction itself. The sculpture was cut with an oxyacetylene cutting table, and then it was assembled with auxiliary devices in order to fix it to the central tube. Once finished, the semicircles were welded to the central pillar. The steel was cleaned with shot blasting equipment and painted. A concrete base was also fabricated to house this sculpture either permanently or temporarily. After setting for 25 days, the logistics were arranged for its transfer and assembly in the original location. The whole process was very exciting. My brothers Francisco, Cristián, and I are proud to have had the opportunity to collaborate in restoring this piece. From conception to fabrication, we tried to follow the entire original process as faithfully as possible. We hope it serves as a contribution to the public space.


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el cuarto mundo (the fourth world)

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el cuarto mundo (the fourth world)

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el cuarto mundo (the fourth world)

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EL TERCER PAISAJE (the third landscape)

OCTOBER 17, 2019 - DECEMBER 15, 2019



Grass sprouting among the tiles, wild flowers on the roadside, all the unruly germination that happens after herbicides, shovels and cement are applied make up the third landscape. This notion was proposed by French gardener and philosopher Gilles Clément who directed our attention towards the tangible and intangible wastelands, spontaneous reserves of biodiversity in which air, soil, water and the species that inhabit them design an anonymous ecosystem.

In 1874 Modesto Músorgski composed a piano piece that was orchestrated by Maurice Ravel in 1922 and would go on to become enormously popular; Cuadros de una exposición (Pictures at an exhibition). In it Músorgski portrayed some scenes in sound of the retrospective exhibition organized at the death of painter Víktor Hartmann. A recurring passage called "Promenade" is interspersed between the ten pictures that the composer chose to set to music. He thus masterfully captured the figure of the promenade with movements and pauses, changes of scenery and, at the same time, a certain continuity that articulates the unity of the whole.


"El tercer paisaje" (The Third Landscape) brought together artists who have trained an attentive gaze on the transformations of nature. From Chile, France and Norway, these artists reveal through their works different strategies of transformation, resilience, resistance and escape. The dynamic between instability and balance that characterizes wildlife is manifested in the narrative that composed the works, reconstructing a common ground from the metaphors of the landscape and the artistic investigation of nature. Along this journey, a pessimistic warning or paralyzing denunciation was never the thread traced through the pieces and their stories, but the aesthetic experience of what could not be postponed. The exhibition invoked the power of weeds sprouting once again between layers of concrete. Just one day after its opening on October 18th it was closed while we held the seminar "Transformations" in conjunction with Universidad de Chile and the "Deriva del tercer paisaje" with Miguel Georgieff of the COLOCO collective (Fr), creating an inevitable correlation between the inside and outside of the institution. In the period that followed, the exhibition was visited sporadically and audiovisually recorded to be released online. After being closed for a few weeks, and with the trees living in the museum’s atrium serving as the only witnesses to the biennial, it reopened thanks to the assistance given by some of its workers. This brought the message of the exhibition to the community, situating it in some sort of myth inevitably intertwined with the event. This exhibition was made possible thanks to the contribution of the Emian Foundation and the support of the Museo Nacional de Bellas Artes, the Antenna Foundation and Bank of America Merrill Lynch. We would like to express our gratitude to the team of the Museo Nacional de Bellas Artes, Gilles Clément, Sergio Larraín's legacy and the artists and collaborators who participated in the production process of these works.

The particular exhibition structure of the Museo Nacional de Bellas Artes was inaugurated in 1910 and shows a central hall conceived at the border between the interior and exterior surrounded by exhibition circles arranged on two floors. In these, an articulating and self-concentrating rotunda follows and precedes the longitudinal spaces of the halls in a sort of musical structure. The impulse to movement characteristic of the rooms is followed by moments of rest and changes in direction. The museum's floor plan, designed by Emilio Jéquier, is dominated by symmetry. The arrangement of doors and staircases makes it possible to travel through these circles in several directions by means of various circuits. Beginning the tour of the first-floor circle in the north wing, it implies a counter-clockwise rotation. Entering the hall and under the large glass dome, flooded with native plants for the Biennial of Media Arts, we direct our steps toward the right to enter an exciting succession of medial scenes. In the Quechua culture, like others that participated in the Latin American ancestral world, the Andes were considered deities. They were associated with the origin of the water that made the soil fertile and life possible in a thousand ways. This comes to mind when accessing the north wing, where Josefina Guilisasti's Desborde has installed an Andes Mountain Range that appears as the monumental backbone of South America. Made with a wax that exudes its own perfume, this mountain range has the capacity to dissolve day by day. It reminds us of the transience of all matter, even that which we believe to be the most solid. It also reminds us of our own responsibility in the face of this possible and even probable dissolution. Surrounded by his own and other people's images that sing of the mountain range as a solitary and impregnable landscape, Guilisasti's work, a masterpiece in its own right, allows us to almost grasp in hand a reality that usually escapes us. It warns us then how the water that surrounds us every day was a part of those heights under constant dissolution and reconstruction. Desborde proposes a song and a lament. This cyclical structure could one day bring both itself and us to a halt forever. The succession of halls and rotundas separated only by doorways leads us from linear motion to a turn, from long distances to short ones, from the impulse


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of movement to an evident standstill that is at once the product of the natural route and of the piece we are looking at. If the mountain range reminded us of the noble and monumental roughness of the planet's skin, this first rotunda takes us to its burning heart. Fire has always had a double significance: it is devastating and purifying; destructive and constructive. In Jorge Tacla's Informe de Lesiones, made in collaboration with Christian Viveros-Fauné, a series of documents burn insistently against one of the curved walls of the rotunda. The beauty of the fire, repeated a thousand times, contrasts with the savagery of documentary destruction, which is the destruction of words, of ideas, of feelings, of memories. The destruction of paper, somehow always furious, the feeding of the flames and their conversion into ash, reminds us of Quevedo's "polvo enamorado" (dust in love). The remains of the shipwreck, displayed on the walls and in a glass case in the center of the room, contrast their silent materiality, half-dissolved with the crackling and destructive image of the flames that only yields, when it does yield, to the presence of water. The north-south halls of the exhibition circles are shorter than those running east-west. The proportions of their sides grow closer together and thus stabilize, calm and center. Denise Lira-Ratinoff with her piece Umbral (Threshold), floods the museum, incorporating into the room a piece of ocean in motion. The virtuous hyperreality of the proposal both marvels and disorients. A sea inside of a room and a portion of the sea that can be surrounded are at once convincing and impossible. Enclosing the sea in a dark room is a kind of miracle. The flooding of the water was preceded by that of the tons of salt that support it. They bring to the room its inert and impeccable whiteness to project on it the incessant vitality of the sea. The distant sounds of whales bring a new dimension to the work, reminding us that these waves, in permanent flux, are but the light wrinkles of an unfathomable reality; a world with its own identity that speaks to us, softly and heartbreakingly, from afar. To move from the north wing to the south wing, one must return to the hall and cross that old and stylistic monumental staircase leading to the second level, so you can see a glimpse of the garden, although now wild and tousled, that the Biennial has brought back to the core area of the museum. We glance again at the glazed dome and pass from darkness to light. Those who carry the water from the mountain heights to the restless stillness of the ocean are the rivers flowing to the sea. As incessant transport machines, they perform their task day and night. As with our long Loa, the work is not


el tercer paisaje (the third landscape)

always easy. Claudia Gonzalez's Hidroscopía / Loa (Cu) focuses precisely on the condition of a working machine one can attribute to a river. The delicate threedimensional configuration with drip circuits, devised by González, contrasts with the figures arranged on the walls that submerge us in the cartographic whims of the river, and in the microscopic and painful immensity of its waters, interrupted and polluted in its tiring and sometimes invisible journey to the ocean. This contrast between the enormous and the small, the visible and the invisible occupies a central place in the poetics of Hidroscopía / Loa (Cu). The atmosphere of the room created by Claudia Gonzalez enables fluidly crossing the threshold that leads to the next rotunda, flooded again by the visual nature and never-ending dialectic of image and reality. If Jorge Tacla turned a rotunda into a bonfire, Etienne de France turns it into a forest, something that grows and develops under the protection of fire. Against the Drought of Signs returns once again to the theme of water, now in its fertilizing condition that makes growth possible, as it is the support and guarantor of the plant world. Against the Drought of Signs proposes a multiple interplay of mirrors. Two screens present a cinematographic view of another view, which recognizes the changes of light among the foliage of a forest in the southern mountain range. This reality is subsequently reflected in a poem ("Ka Wün") by Leonel Lienlaf, which returns to the theme of the identification of our lives and the life of a tree. This, in turn, is reflected in an ancient Welsh poem ("Kat Godeu") that sings to the forest as a possible multitude. From the forest to the body and from the body to the word: against the drought of the tree, the body and the word. The density of the forest leads us into the longitudinal spaciousness of the large room in the south wing. A wall supports a cluttered cabinet display that faces a series of lined tables, presenting a touch of school or old office design. Sergio Larraín Echenique, one of the greatest photographic artists in Chile and Latin America, took a long journey in his life. He went from taking photographs of the world to caring for its future. His was a relentless search, traveling from Santiago to Paris and many other places, to end up returning to Chile and the hidden silence of Ovalle. In his final years he produced a series of publications focused on today's world, our relationship with the planet, its current reality and its future ("Kinder Planetario"). In a room filled with works of diverse type, size, style and materiality, Larraín's ideas, available in print for visitors to take with them, dialogue with the museum's collection and Gilles Clément's ideas about a "Tercer Paisaje" (Third Landscape), which looks at the accidental, the modest, what is apparently messy and left aside, like "the stone that the builders discarded". Seemingly without rhyme or reason and with that same

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spontaneous disorder, appreciated by Clément, ideas and works, reflections and suggestions all intertwine to bring about a new planetary conscience and the imagination of a new horizon.

the exhibition resonates somewhere in the distance, like that musical resource called the escaped note. To reach it, it is necessary to return to the hall and climb the solemn and stylistic stairway.

The dense panorama of the large south hall leads to the last rotunda, one that seems almost forgotten and inhabited by absence.

Before doing so, a mini nursery as a sort of anomalous extension of the editorial garden located along the passage atop industrial furniture may attract our attention.

Dar Reversa (Reversal), Sebastián Preece's concept for the last of the round rooms in the "biennial promenade" is defined as an exercise in archaeology. It reveals both the origins of the Palace of Fine Arts and the passage of time that has worn away, modified and even erased it. A cutout in the interior wall of the hall shows once again the original windows conceived by Jéquier for the second floor of the building, the partition wall that covered them and the innumerable layers of paint that were added to this interior veil over the course of more than half a century. Dar Reversa is configured from extraction, from absence. However, it is an active absence that redeems a presence. Once again, in an unprecedented act, the light invades the south-east rotunda and the view escapes again towards the park and the city where the museum is located. The work thus raises a transcendental question. Is there still a possibility that the museum's exhibition space is not a black or white box, but rather a support structure in dialogue with its surroundings? Can turning back the clock be a way of recovering the past in order to go further? The light introduced by Preece in the south-east rotunda refocuses the space, which is no longer an abstract circle, traversed by a diagonal of light and vision. In its own way, it constructs a preamble to the last exhibition room. In Delira, Nicole L'Huillier interweaves the solid and the figurative, objects and images. It is a contemporary vision of the old myths that place music as a hermeneutic key to the universe. Orpheus, represented in a remarkable painting by Alvarez de Sotomayor (Orfeo atacado por las Bacantes / Orpheus attacked by the Bacchantes, 1904) is situated at one extreme. At the other, the constellation Lyra. Between the two, the Lyre, the musical artifact that tames the wild beasts, the danger, when in Orpheus' hands. Once again, Nicole L'Huillier's installation travels from the micro to the macro cosmos in a quest to reconcile the natural and the artificial, in a dialogue that is at once festive and cosmic, futuristic and primitive.

This is Eucalyptus, a sound archive created by Agencia de Borde. A series of texts attached to the nursery structure provides a critical reflection on the introduction of monocultures in the landscape of the Los Ríos region. On the second floor, the exhibition "From Here to Modernity" curated by Gloria Cortés from the museum's collection, reveals an echo of this proposal in Eucalyptus, a sort of landscape triptych by Carlos Dorlhiac (1880-1973), which sings of the presence of this new scale in the Chilean landscape, as did other artists of his time. Maia Urstad's Murmur is another piece in the same exhibition. Between a work by Laura Rodig and another by José Balmes, Urstad has hung a series of portable radio transmitters that have already become museum pieces due to technological progress, despite their relatively short existence. In their own way also nullified by progress, they emit sounds that produce a murmur that has acquired new meaning, now freed from their functional tasks. The Biennial of Media Arts returns time and again to reflect on its intentions, meanings and areas of work. What is "media" today? What are its limits? What does it contribute to artistic activity? To what extent is the media condition itself in its transitive way capable of becoming matter that is not necessarily material? These pictures of an exhibition seem to put us in contact with those primitive elements, earth, air, water and fire, eternal and at the same time urgently current, transcendent and ordinary, crossing all scales from the microscopic to the planetary. This is the voice that "El tercer paisaje" has brought to the Museo Nacional de Bellas Artes.

Delira culminates the tour of the exhibition circle on the second floor of the museum. The sequence that goes from the mountain range to the fire, from the fire to the ocean, from the ocean to the river, from the river to the forest, from the forest to the planet, from the planet to the light and from the light to the constellating music can be mentally reconstructed. However, an echo of


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INSTITUTO FRANCÉS DE CHILE (FRENCH INSTITUTE OF CHILE) CHRISTIAN ESTRADE DIRECTOR Since its inception, the French Institute of Chile -also known as the French Chilean Institute- has been characterized by its deep commitment to artistic creation, the dissemination of contemporary thought, as well as dialogue between French and Chilean artists and between generations. In 1981, in the midst of the dictatorship, the Festival Franco Chileno de Videoarte was born. This initiative of Pascal-Emmanuel Gallet on behalf of the Ministry of Foreign Affairs of France was welcomed and promoted by Michele Goldstein, cultural attaché of the French Embassy at the time, in which prominent artists from both countries participated.

Universidad Católica. This was followed by a talk with Miguel Georgieff, who also participated in a series of meandering or drifting to explore the urban biodiversity of Santiago under the lens of the "third landscape". As this text is being published in the midst of a health crisis, we can’t help pointing out that Gilles Clément's thinking and the curatorship raised by the 14th Biennial of Media Arts have gained even more relevance and meaning at a time like this.

After ten editions, several travel diaries and many other audiovisual creations, the Franco-Chilean Festival of Video Art came to a close in 1990, and led to the launch of the Franco-Latin American Festival of Video Art directed by recently deceased Néstor Olhagaray. This event would expand and become what is today the Biennial of Media Arts of Santiago, an international and interdisciplinary engagement between art and science. The artistic dialogue between France and Chile has not stopped growing over successive editions. This is both due to the French presence in each edition of the Biennial and through cooperative actions (such as the donation of digital archives made in 2015 by the Bibliothèque Nationale de France to the Museo Nacional de Bellas Artes). The 14th Biennial of Media Arts, entitled El cuarto mundo (The Fourth World), is a clear example of this. The curatorship was articulated around the Manifesto of the Third Landscape by French botanist, landscape architect and writer Gilles Clément, who invited us to enter the "tercer paisaje" (third landscape); i.e. spaces that are so far free from intervention. From there, Clément suggests observing the movement and interactions between species -intervening as little as possible- and contemplating the world as a planetary garden. Under this premise, French artist Etienne de France participated in the exhibition "El tercer paisaje" at the Museo Nacional de Bellas Artes with the piece Against the Drought of Signs. He presents his view of the forests of Araucanía after a residency in the Pehuén Forest in collaboration with the Mar Adentro Foundation. The French collective COLOCO is also a part of the Biennial's program, represented by co-founder, Miguel Georgieff, landscape and urban planner, graduate and professor at the École Supérieure du Paysage de Versailles, where Gilles Clément also taught. Inspired by Clément's methodology, the COLOCO collective stands out for creating participatory landscape projects with local communities. The documentary Jardín en movimiento by Olivier Comte was presented during the Biennial at the School of Architecture of the


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«El tercer paisaje» was conceived as an exhibition that, in addition to occupying a large part of the Museo Nacional de Bellas Artes, expanded throughout the city of Santiago, not through works or artistic interventions, but through routes that made some particular aspects of Santiago's urban biodiversity visible. The "Derivas del tercer paisaje" were then thought of as paths to connect places of biodiversity and to form a network of diverse people who, from their respective fields of action, had been developing studies, projects and actions for the city's reforestation, in tune (some without even knowing it) with the ideas that the gardener and philosopher Gilles Clément summarized in the Manifesto of the Third Landscape that gave the exhibition its title.

"In the course of its evolution, the city has been organized around criteria that favor the comfort of the habitat of a single component of life; the human being, for which it seems to owe its entire existence. To imagine a city that develops from the entire living world, considered as a whole that is complex and interdependent within the Planetary Garden, constitutes a disorder likely to profoundly modify the principles on which urban planning develops. Proposing that "non-human nature" be presented as equivalent in importance to humans in their right to habitat constitutes a revolutionary vision from the point of view of the balance - in facts, not just theoretically - between humanity and its environment."1

To guide such drifting from a viewpoint that is both expert and foreign to the local environment, we invited landscape architect Miguel Georgieff (Buenos Aires, 1973), professor at the School of Landscape of Versailles (France) and member of the COLOCO collective, to take up residence in Santiago and accompany us on each tour.

Gilles Clément

Miguel Georgieff (Buenos Aires, 1973) Founded the collective COLOCO in 1999. This collection of multidisciplinary teams focuses on landscape projects of varying scales. He taught at the Escuela de Paisaje de Versalles [Versailles Landscape School] for 13 years with Gilles Clémentwhere they created pieces in large territories. With COLOCO he has also created projects for integrating urban nature through innovative citizen participation

For a week, we walked, rode bicycles and traveled on public transport, touring several districts of the capital. We saw water scarcity when following the path of a mountain stream until it gets lost in the city. We viewed native and undomesticated trees and walked on disputed, eroded, abandoned land. We were filled with questions about weak public policies, promoting urban wildlife in contrast to the power of real estate speculation that threatens to cement everything in. The program went on as planned until Friday, October 18th. While we were walking along paths through the General Cemetery invaded by weeds, the city exploded in an unusual, yet not entirely unexpected, way. The sequence of demonstrations unleashed since that afternoon meant the museum had to close to the public, so we canceled the meeting that we’d planned to close the drifting exercises with. We also had to cancel the Third Landscape Assembly that was scheduled for Saturday, October 19th as the concluding act of Miguel's residency and the first collaborative writing session of what we had hoped would be the draft of a Manifiesto del Tercer Paisaje para Santiago (Third Landscape Manifesto for Santiago). All this was put on hold, like so many other things in October. Back in France, Miguel sent us his notes on our drifting walks, which we’ve transcribed in the pages below.

procesess. His current research focuses on developing the biological dynamics

Inspired by the principles of the "Third Landscape" and the "Planetary Garden" proposed by Gilles Clément, the COLOCO landscape action collective puts into practice a subtle understanding of urban biodiversity, based on respect for nature and the need to reintegrate social diversity into the practices of urban landscape development and rehabilitation.

of the landscape. This work will become reality as he and Gilles Clément serve as the Versailles Landscape Bienniel curators in 2022.

The Santiago drifting walks were planned as programmed trips of well-defined groups, previously contacted for their interests in the areas of urbanism, biodiversity, landscape and related topics. Each drift was recorded by the Biennial's audiovisual team and each walk served as the basis for collective reflections, extremely rich conversations, encounters between people and organizations that were strengthened or, at least became interested in getting in touch with each other. I was invited to tour these hidden spaces of Santiago through drifting designed with a situationist enthusiasm in search of its third landscape. The unique geography of the megalopolis leaves spaces for freedom, beyond the control of planning and engineering. In these hills and valleys, nature develops spontaneously, creating contexts of biodiversity much larger than in parks or gardens designed and managed by humans. Each meeting directed a tour as a way of sharing these samples of spontaneous natural life. During every experience of situations that are unprecedented for many Santiago residents, we began to feel that we had to reevaluate something regarding our contact with nature.

1 Gilles Clément. Conference «La préséance du vivant», delivered on March 2, 2020 at ENSAPL.


el tercer paisaje (the third landscape)

national museum of fine arts



What geographical forms are projected through water to the city? The "Deriva del agua" (Water drift) proposed its appropriation as an essential source of life, considered a resource by some who have privatized it. Along the Macul creek, we witnessed how biodiversity dwindled down to the urban cement, a statement of the inability to mix diverse forms of life in our immense cities. Accompanied by Paula Aguirre from the Master of Landscape Architecture (MAPA) and her students from the research seminar of the Architecture Department of Universidad Católica, we walked from the entrance of the Aguas de Ramón Natural Park to follow the course of the waters that are then treated, channeled, piped or dispersed in various parts of the city. It rained that day during the morning, surprisingly in light of the ongoing drought. This produced streams that began to flow where there had been no trace of water, recovering the riverbeds that form in the Andean foothills, a park conservation area. We walked along the course of an estuary from the park entrance downwards, moving in and out of private properties, passing through gates to look at what is not usually thought of as landscape. We encountered exotic and native botanical species, geological formations, trash collection points, plant nurseries, sports facilities, uncultivated sites, streets, sidewalks, and even dry aggregate extraction areas as we reached the water channeling and distribution zone towards the intercommunal park. Later, we observed its continuous flow through canals and pipelines towards the Mapocho, infrastructure that seeks to control these waters without using them for urban irrigation.


el tercer paisaje (the third landscape)

national museum of fine arts



How is urban biodiversity managed for a socially diverse coexistence? From the San Cristobal hill with an unbeatable view offered by the Deriva del cerro/parque (Hill/park drift), we recognized a place of coexistence and conflict between natural species of diverse origins, urban green areas administrative bodies and current and past citizen initiatives, which are projected from diverse visions. First signs of resistance, a different world for each slope of the hill. Guided by Fernanda Ruiz and Etienne Lefranc of the Santiago Cerros Isla Foundation and accompanied by Leandro Cappetto of Grupo Toma and Joaquín Cerda of Paisaje Táctico, we cycled along some of the trails of the Cerro San Cristóbal Metropolitan Park. With the panoramic view of the city, we came to understand the hill as an arm of the mountain range, and a place of coexistence and conflict between natural species of diverse origins, urban green space administrative agencies, and current and past citizen initiatives set up for different purposes.


el tercer paisaje (the third landscape)

national museum of fine arts



What stories make up the forms of urban nature? The "Deriva del eriazo" took us to the municipality of Pedro Aguirre Cerda where we could feel the tension between the unstable situation of the undeveloped land, its multiple organic occupations by neighbors, and the rough texture of the soil in which the plants resist the aridity of the rubble. The resistance here was obvious. The struggle for life was palpable in the very air of the neighborhood. Together with Paola Velázquez from Stgo + Infraestructura Verde of the Faculty of Architecture and Urbanism of Universidad de Chile, the managers of Galería Metropolitana and Paul Dassori from OpenMapChile, we visited the exhibition "Arqueologías de la luz" (Archaeologies of light) by artist Cristo Riffo, part of the 14th Biennial of Media Arts. We toured the undeveloped site and community park project André Jarlán in the municipality of Pedro Aguirre Cerda. This meeting was an opportunity to learn about the conflicts that hold Santiago hostage to real estate speculation, approved by municipalities, companies and various levels of power. The walk through the empty site and the parks made it possible to contrast the abandonment, the profit and the unsustainable design that permeates this area. Benjamín Matte, in charge of the Biennial's audio-visuals, took shots of these spaces with a drone, which showed us the impact that the business of arid deposits in the undeveloped land has on the landscape, supposedly an economic method to expand the park. A few days later, the body of Daniela Carrasco, known as "La Mimo" or mime, was found lifeless on that same site. We do not know the details of the circumstances of her death, but at least at that time she was linked to the collective convulsion rocking Chilean society. We hope that this wasteland becomes a park to honor the life of this young woman.


el tercer paisaje (the third landscape)

national museum of fine arts



What room is left for the native in an urban environment? In the "Deriva de lo nativo", we decided think about how we could coexist among the experiences of the dense center of a historical city and the native aspects that touch each one of us, joining our diversities. In the midst of a voracious real estate exploitation, we saw how some simple modules for planting and observing native biodiversity became a place of exchange between the university community and the neighborhood. This was the Biodiverse Garden in Parque Almagro, an open space for experimentation created by professors and students of the Landscape Architecture program at the Universidad Central. The members of the Urban Biodiversity Research Nucleus (NIBU) and Francisca Fernández, Margarita Reyes and Javiera Delaunoy, garden managers, presented this and other research projects aimed at recognizing the native species that have managed to persist in contexts of extreme urbanization. Increasing our ability to look through a microscope, we saw the power of the seeds of native species that, although we don’t perceive it, fly around and mingle with the dust particles and pollution in the city. This occasion brought together several of the agents who aim to preserve and promote natural life in Santiago. Witnessing this meeting was a great experience that was made up of the Paisaje Táctico team, the Cosmos Foundation, Mi Parque Foundation, the Institute of Ecology & Biodiversity, participants of the collective garden of the Museo de la Solidaridad Salvador Allende (MSSA) and members of the neighborhood council of Santiago Centro. To imagine the work that these actors could do together as a network was to project a completely different landscape for Santiago. It was Thursday, October 17th and the city was already reverberating with a strange echo. Signs of the social outburst to come were becoming clear and the discontent started to ignite the streets.


el tercer paisaje (the third landscape)

national museum of fine arts



How are human diversities cultivated? In the "Deriva de los Jardines Humanos", we set out to address the question of the different natures that coexist in the city. The tour began after a visit to the exhibition "Jardines Humanos" (Human Gardens), the result of a dialogue between artist Francisco Navarrete Sitja and a selection of books from the bibliographic collection of the Centro Patrimonial Recoleta Dominica. Guided by Library Director Carolina Nahuelhual, we set out to cross the Cerro Blanco hill and the General Cemetery. On the hill, we saw the cup stones and talked about why it seems absurd that they are in such a poor state of conservation and study. Carolina explained that the information does not correspond to the studies that have been made of them. They are in fact much older and were made by people of whom we know relatively nothing. What later became known as a social outburst was breaking out in the city of Santiago while we toured the cemetery and noted the effects of the drought and the wildness. From the silence of the cemetery, we could hear humans increasingly agitated in the streets along with the cracking of tear gas bombs. The whole city seemed to enter a whirlwind that, surrounded as we were by graves, did not seem so urgent to us. As we left prior to the completing our drifting, another walk began that seemed to amplify everything we had experienced in those days. The months that followed accelerated a process that appears to be bringing about the emergence of the Fourth World. It is strange to think about all of this during the chaotic calm of the pandemic. Let us then look at the road traveled, the concerns we shared and the hopes that were born. The world has learned to live with uncertainty, the primary condition of life. Plants developed resistance and adaptations. We mammals have to take care of our habitats as our own garden using that valuable capacity we have to communicate and share. That was the foundation of the "Asamblea del Tercer paisaje" (Third Landscape Assembly) that could not be held, although it is there, dormant and full of the desire to sprout.


el tercer paisaje (the third landscape)

national museum of fine arts



el tercer paisaje (the third landscape)

national museum of fine arts



On a steel table, a scaled forest plantation made up of a hundred juvenile eucalyptus trees has been placed. From the same table, testimonies and public statements revolving around this species are issued. Meanwhile, like a stowaway, the record of a tour through a plantation of this tree infiltrates the exhibition "De aquí a la modernidad" from the collection of the Museo Nacional de Bellas Artes, which seeks to provoke a contrast with the work Eucaliptus (s.f.) by the French-Chilean artist Carlos Dorlhiac (1880-1973), giving an account of the history of a plant species subject to importation, savagery and exploitation.

# landscape, eucalyptus, monoculture, sound, archive, community Agencia de Borde is a collective formed by Paula Salas (1982), Sebastián Melo (1976) and Rosario Montero (1978). Through artistic research projects they explore the limits of the landscape in

The installation is a return to the question that drives Agencia de Borde's research. How does technology play a role in mediating our experiences of landscapes? The landscape in question is formed by eucalyptus plantations (Eucalyptus globulus) in the Los Ríos region. Through interviews, field trips and archival research, the collective investigates the history, representation, and cultural construction of tree plantations as forests. It seeks to understand the tree as a technological object modified to improve its efficiency and economic performance.

relation to the territory and its inhabitants. Their objective is to understand from an interdisciplinary perspective the ways in which people, places and technologies determine each other. Through their interventions they seek to make visible the power structures that underlie contemporary notions of "landscape". To this end, they use art as a medium

The eucalyptus becomes a reference point through which to explore the different social, ecological and political effects of monocrop plantations. Notions such as nature, territory, forest and tree are revealed in their mismatch, contrasting the perception of the use of eucalyptus as a tree.

and anthropology as a method, locating, studying and producing visual, audiovisual and written material.

Scientific evidence describes the effects of forest plantations as a land occupation that produces biodiversity loss, soil damage, water scarcity, rural poverty, rural-urban migration and risk of forest fires. Monoculture, a true "green desert" and artificial frontier, generates inequity and disarticulates the links between natural and cultural territories.

Stainless steel clinic table, 90 x 60 x 130 cm 120 Eucalyptus Globulus 30 cm high Three wireless speakers Leaf soil Water, plastic, LED light bulbs


el tercer paisaje (the third landscape)

national museum of fine arts


This immersive work that involves placing wild elements inside of the Museo Nacional de Bellas Artes warns us of the failure of the modern project based on the distinction between nature and human culture. Traditionally represented by the two-dimensionality of painting, the Andes Mountains appear in the museum as an ephemeral sculpture, the result of a profound confluence of artistic imagination, anthropology, geography, history and cartography.

# Andes mountain range, South America, cartography, dialogue among disciplinary fields Josefina Guilisasti (1963) holds a degree in Fine Arts from the Universidad de Chile.

Based on a 3D topographic survey of the territory extending from Colombia to Magallanes (between parallels 15 North and 55 South), the space was divided into nine polygons to set the scale of 1 to 900,000. The estimated 8,000 km extension of the mountain range is equivalent to the 8.88 m of the sculpture’s length. The altitude reference (the 6,962 meters above sea level of Aconcagua, for example) is represented at an equivalence of 1,268/1. To provoke the isolation of the mountain range from the rest of the geographical features to which it is actually connected, a sea level elevation increase to 360 meters above sea level was simulated; i.e., a large part of the subcontinent was depicted as flooded.

She studied scenographic painting at the Scala Theater in Milan, Italy, and is currently living and working in Santiago, Chile. Since 1990 Guilisasti explores the metaphorical power of still life and other traditions of representation of the non-human. Using different media, from painting, photography, ceramics to media installation, she recovers the

This 3D model served as the basis for the fabrication of the sculpture, a beeswax replica of the mountain range of approximately 9 m in length, distributed on seven metal tables, each of which emits the heat that will cause it to melt and overflow. Records with different techniques form a memory of the overflow, visualizing at the end of the exhibition the complete trance of the sculpture, from its gradual melting to its absence.

anthropological, historical, aesthetic and material dimensions of objects, recognizing a second nature in human creations.

This work was conceived in a dialogue between Josefina Guilisasti and geographer Pilar Cereceda, anthropologist Horacio Larraín and art historian Catalina Valdés. Each meeting was produced as a video-interview that gave rise to an account of lives dedicated to the study of the forms and inhabitants of the mountain range. The whole is presented as a silent alarm in the face of the violence to which this overflowing portion of land is subjected. Scientific allies: Pilar Cereceda, Horacio Larraín. Collaborators: Enrique Stindt, Cristián Ulloa, Juan Toledo, Soledad Jiménez, Soledad Castillo, Walter González, Uno a Mil: Joaquín González, Juan José Olivares, Costanza Montiel, Tomás Opazo and Antonia Santis.


el tercer paisaje (the third landscape)

national museum of fine arts

el tercer paisaje (the third landscape)

national museum of fine arts

Modular wax pieces Five metallic bases 120 x 120 cm Two metallic bases 240 x 120 cm Heating system Fourteen clay pots from Pomaire Manufactured by Juan Toledo, 2019 Two 32-inch monitors Interview. Two MP4 videos, 1’45’’ (2019)


el tercer paisaje (the third landscape)

national museum of fine arts

Soledades eternas [Carihuairazo] (1906) (Eternal Solitudes)

Cordillera Blanca (2017) (White Mountain Range)

Luis A. Martínez (1869-1909). Oil on canvas, 156 x 118 cm

Josefina Guilisasti. Peru. Colored pencil drawing on paper, 170 x 260 cm

Private collection.


el tercer paisaje (the third landscape)

national museum of fine arts



Informe de lesiones portrays the act of verifying one of the most irreversible processes of memory elimination; destruction by fire. The burning of books evokes the burning of forests; the disappearance of memory, the destruction of the ecosystem, two sensitive systems under constant threat of annihilation.

# Burning of books and documents, collective memory, fire, ashes Jorge Tacla (Santiago, 1958) studied at

Curator Christian Viveros-Fauné, who accompanies Tacla on his journey through "The Third Landscape," evokes the German poet Heinrich Heine, who declaims, "Where books are burned, people end up being burned." However, fire is also an intrinsic element of our organic framework. The internal fire activates the metaphor of knowledge that feeds the combustion of vibrating cognitive elements. It is also the vital energy that initiates the necessary processes for the transformation of matter.

the School of Fine Arts at the Universidad de Chile and moved to New York in 1981. Since then his work has been exhibited in museums, biennials and galleries around the world. He currently lives and works in New York and Santiago, Chile. Jorge Tacla's work explores spaces of social rupture, situating himself in

A tree as well as a book can contain chemical elements or knowledge that contain their own ignition point, the fire necessary to activate regeneration and transformation. In their genesis lies their destruction. But the forest and our minds can be nourished by this fire, if we manage to integrate it in balance. The ash is fertilizer. It strengthens and regenerates the terrain that has burned. Will it be possible to extend this renewal to ideological systems stagnant at the edges of our collective thinking? Tacla's Informe de lesiones (Injury report) is the testimony of a trauma and a rite of activation of the ashes left by the fire that devastated a cognitive territory.

the articulations of a new architecture that emerges after catastrophe. Tacla perceives the devastation that results from episodes of destruction -natural, cultural-as an opportunity to investigate structural systems that would otherwise remain hidden. In order to signify such unstable worlds, he uses obsessive pictorial languages. Sometimes he repeats the images, and

Collaborators: Christian Viveros-Fauné.

sometimes he repeats the same gesture in the same space, until the visual register is analogous to the trauma that provokes it. These critical issues and their situation in the larger collective human experience are the decisive theoretical investigations of his work.


el tercer paisaje (the third landscape)

national museum of fine arts

"Where books are burned, people are burned," wrote the German poet Heinrich Heine in 1821 in his theater play Almansor. About a century later, on the night of May 10, 1933, the same script would be burned before the eyes of more than forty thousand people on the Opernplatz in Berlin's Mitte district. On the same occasion and during the following nights, texts by Walter Benjamin, Bertolt Brecht, Friedrich Engels, Sigmund Freud and Franz Kafka, and others were burned. However, as a sentence that repeats itself perpetually and with no possibility of ever being released, it is merely one devastating scene in a long line that began in 213 B.C. with Emperor Qin Shi Huang's order to burn all philosophy and history books from any locality outside the Chinese province of Qin, which continues to the present day. This work takes as its starting point images found in print, audiovisual and digital platforms with a range as wide as the events captured. They crisscross history and the world, residing in archives and institutional libraries as well as in the vast web where users compulsively post records of daily atrocities that serve as witness regardless of the support or rejection they may feel for them. Concepts that are usually considered antagonistic merge in the work Informe de lesiones (2016-2019). The global becomes local, the political becomes personal, fanaticism becomes hate, innocence becomes responsibility, etc. Thereby the question arises, does it make sense to condemn one destruction, devastation or war of people, knowledge, places and cultures while celebrating another? What separates our history from that of the rest of the world? Is it possible to turn beliefs and ideas to dust? If not, why do we insist on trying? Christian Viveros-Fauné


el tercer paisaje (the third landscape)

national museum of fine arts


Video wall projection, opaque black wooden showcase, 50 x 200 x 200 cm, glass cover, five showcase boxes, 43 x 34 cm

el tercer paisaje (the third landscape)

national museum of fine arts



UMBRAL makes the invisible visible, addressing the noise pollution that affects cetaceans in the ocean. UMBRAL results from the transfer of a portion of the sea to the center of the city, the starting point of a sensory journey that seeks to open new perspectives on oceanic biodiversity, an unfathomable, practically unknown space.

# noise pollution, cetaceans, awareness, interspecies, Alexander von Humboldt

Denise Lira-Ratinoff (1977)

The installation aims to show what is beyond the reach of our senses, translating the acoustic pollution caused by human technologies that invade the oceans into a sensorial experience. Through this sound and visual portal, Denise LiraRatinoff seeks to awaken a trans-species consciousness, where the human and the cetacean meet on a shared plane of the same matter; salt and darkness as common territory. It is not only a common territory; it is the forms of our similar bodies. The work is proposed as an immersive metaphor that reveals how our perception is being flooded by images and sounds coming from the mass media without fully conveying what is happening in non-human worlds. The electromagnetic signals and data that invade, from a subtle materiality, the sense of orientation, provoke a reorganization of the psychogeography shared by us and the great mammals of the sea.

Interdisciplinary Artist with a Master of Fine Arts in Photography, Savannah College of Art & Design, United States. She currently lives and works in Chile, the USA and Germany. Her work explores the connections and relationships between humanity and nature by creating installations that seek to evidence and establish symmetries, closeness and proximity between the two. Her work is a combination of photography, video, sound, organic materials and plastic waste deployed in space with the purpose

The song of the cetaceans sounds like a lament. A flash of light and the darkness that follows evoke the experience of insecurity and death. The sea expands the third landscape into the space of the abyss, which demands that we sharpen our senses to perceive it. The song and the ocean in movement become a hypnotic mass, placing us on the edge of a habitat that is being destroyed by human ambition.

of awakening each of the senses of the physical perception of our environment to activate immaterial levels of perception. In the last decade she has stood out for her experience in exposing the environmental problems of the ocean through art.

"Cetaceans are warm-blooded mammals that breathe through a pair of lungs, have hair at least at some stage of their life cycle, and feed on milk during the first few months of life." (MERI Foundation) Scientific Allies: Dr. Francisco Javier Soto Silva, Dra. Susannah Buchan, Fundación MERI, Plastic Oceans. Collaborators: Patricio Aguilar for co-direction and life path. Claudio Di Girólamo, Antonio Ríos, Edson Aguilar, Christian Crosgrove, Daniel Vinagre, Daniel Dávila, Jorge Díaz, Jaime Alarcón, José Miguel Vera, Carlos Medina, Andrea Byrd, Soledad Aguila, Nicole Ellena, Valentina Wong, Manuela Espiñeira, Aldair Vásquez, Yhonny Martínez, Iván Miranda, Francisco Melivilu Fuentes, Karime Maureira, Lucas Gnecco, Italo Basso, Guillermo Feuerhake, Jorge Brantmayer, Margarita Mandujano, Christian Naranjo Fernando Pérez, Gloria Cortés, Paula Honorato, María de los Angeles Marchant, Cecilia Chellew, Department of Communications, Sanitation team and Security team. Catalina Ossa, Enrique Rivera, Catalina Valdés, Eugenio González, Florencia Aspee, Benjamín Matte.

2019 © Instalación UMBRAL. All Rights Reserved.

FOREVER CHILE, CHILOE CINE, EAD Construcciones, YAGAN Films, Kiné imágenes, VGL, ENDEMICO magazine, Gyro Films and JPF Cine.


el tercer paisaje (the third landscape)

national museum of fine arts


HD video of zenithal images, projected on 3000 kg of salt on a 9 x 5 m 11'30" backing

2019 © Instalación UMBRAL. All Rights Reserved.

Audio 5.1 © Denise Lira-Ratinoff Co-Dirección © Patricio Aguilar Díaz Co-Dirección


el tercer paisaje (the third landscape)

national museum of fine arts



This project derives from the fieldwork done by the artist in the Loa River in July 2018 that was first exhibited at the Museo de la Solidaridad Salvador Allende the same year. From images, testimonies and materials collected in the field, Claudia González presents a sound installation that invites us to reflect on the nature of the waters of the Loa, the longest and most polluted river in Chile. The installation evokes different forms of life, be they human, plant or animal, that are facing scarcity and pollution.

# Loa River, water, heavy metals, landscape, copper, electricity, water flow Claudia González (Santiago, 1983) is a visual artist and art teacher, graduated from the School of Art and Visual Culture of the Universidad Arcis and holds a

On the floor covered with yellow sand, six wooden structures are distributed in a linear fashion. They support and connect to an automated water circuit, programmed according to the monthly flow data obtained from the different weather stations located on the Loa River. The water, distributed sequentially through the activation of pumps, circulates in hoses passing through each of the towers. This movement is repeated cyclically, so that the falling water dripping configures a sound rhythm that is amplified through a piezoelectric and audio system arranged in each tower. On the walls, a series of copper plates show the water traces that correspond to the six months of exhibition of the work at the Museo de la Solidaridad. Another laser engraving series presents snapshots of the microscopic views of the water samples. Two videos record the artist's fieldwork experience.

Master's degree in Media Arts from the Universidad de Chile. She currently lives in Santiago, where she runs the project "Club de arte y tecnología" (Art and Technology Club) and works as a professor at the Visual Arts Department of the Universidad de Chile. Since 2006, the artist has been exploring the notion of materiality in analogue and digital technological formats through sound installations, electronics and engraving. In her artistic research she observes the behavior of materials, their mutation

In this piece, the desert is integrated into the Tercer paisaje (Third Landscape) as a laboratory of forms of resistance and interconnection. This artistic instrument of scientific precision not only measures the contamination of a river, but also brings us closer to a landscape that, from the city, seems distant to us, to remind us that the processes of extinction and misery are the flip side of economic growth pursued in an unequal relationship with nature.

over time, the transformation of their matter and sound dimensions. Especially interested in water, Claudia Gonzalez makes expeditions to natural spaces that are mutating due to anthropogenic effects (human intervention). Taking samples and making material, sound and

The Hidroscopia / Loa project was made in 2018 and exhibited at the Museo de la Solidaridad Salvador Allende with support from the MSSA, the Ministry of Cultures, Arts and Heritage, the Department of Visual Arts at the Universidad de Chile and the Center of Geothermic Excellence at the Andes-CEGA of the Department of Geography at the Universidad de Chile.

audiovisual records, she shows the traces of these mutations.

Collaborators: Vonn Castro, Esteban Araya Toroco, Víctor Palape, Manuel Flores e Iván (Loa Province). Diego Alvarado, Francisco de los Ríos, Alessandra Burrotto, Simón Pérez, Sofía Otero, Aurora Radich, Catalina Valdés, Enrique Rivera, Braulio Gatica, Boris Cofré, Andrés Moreno, Matías Serrano, Camilo Mansilla, Carlos González, Juana González, Ignacio González and Silvia Godoy.


el tercer paisaje (the third landscape)

national museum of fine arts

Hidroscopia / Loa Diptych (2018) Full HD video projection Wooden structures. Amplifiers. Piezoelectric elements. Water pumps. Copper samples. Copper trays. Copper gutters Río Loa Series (2018) Ten laser engravings, 73 x 98 cm Río Loa Series (2018) Five printed circuit boards engraved by the water of the Loa River throughout its exhibition at the MSSA, 68,5 x 44,5 cm


el tercer paisaje (the third landscape)

national museum of fine arts



Against The Drought of Signs is a video installation of abstract narratives that tells the story of the ways in which a forest grows, an endless cinema. Two people stare at a screen where the shadows and the "film" created by the foliage of the trees filtering the sun's rays are projected. The sounds of the forest are combined with the voice of the Mapuche poet Leonel Lienlaf reciting Ka wün (Transformation), verses dedicated to the reciprocity between his people and the trees.

# pehuén, Ka wün, transformation, Kat Godeu, El combate de los arbustos, conservation, deforestation, translation, cinema Etienne de France (Paris, 1984) holds a B.A. in Art History and Archaeology and a B.A. in Visual Arts from the Iceland

Forest dwellers from different times and places on Earth communicate, relying on translation as a form of transformation. This connection is materialized in a trilingual fanzine (Mapudungun, Spanish and English) of the medieval Welsh poem Kat Godeu (The Battle of Trees), taken from the Book of Taliesin, which deals with the metamorphosis of an army into a multitude of trees and plants.

Academy of Art, Reykjavik. He currently lives and works in Paris. Through a multidisciplinary work, he explores the relationship between natural and cultural landscapes, using audiovisual, poetic and performative media.

This installation explores the living conditions in the Pehuenche region of the Andean mountain range as a result of the artist's residency at Bosque Pehuén of the Mar Adentro Foundation. Faced with the promotion of the forestry industry and the colonial ordering of the territory that violates the socio-ecological dynamics, the artist wonders, from where can images of the forest emerge to close the colonial and extractivist tradition of the landscape? Which visual approaches can replace the tourist, scientific and anthropocentric gaze of the forest? Etienne de France suggests mimesis (a term derived from the Greek μίμησις, which is close to the notion of imitating and representing) as a renewed form of engagement with the forest. He thus integrates language as the subject matter of his work; storytelling, but also communication beyond signs and between different forms of life. Mimesis evokes an analogy between the forest and cinema, motivated by the link of both places with light. The forest is shown as an expanded cinema, with multiple narrative layers, stories of encounters and translations, stories of destruction and of emancipated futures. Collaborators: Pedro Olivari, Juan Pablo Vergara, Amaury Arboun, Carlos Arias, Rémi Nonne, Estudio Pedro Silva, Leonel Lienlaf, Diego Milos, Maya Errázuriz, Cuartocuarto. This work was made possible thanks to the contribution of the Mar Adentro Foundation Residency Program.

Video installation Two 180 x 320 cm Two-HD color video screens Five-channel audio, 13’31’’ 2019


el tercer paisaje (the third landscape)

national museum of fine arts



Ka wün Leonel Lienlaf

Kiñe aliwen Ñi newen ñi newenuwi Aliwenuwen inche Ng¨man ina ñi chaninemew Ñi folilmew Kiñe epe lalechi güñüm Umgtumekey ñi rowmew Kürüf lelitufilu Ñi patrigülmaetew ñi müpü

Leonel Lienlaf

La vida del árbol invadió mi vida Comencé a sentirme árbol Y entendí su tristeza. Empecé a llorar Por mis hojas, mis raíces Mientras un ave se dormía en ramas Esperando que el viento Dispersara sus alas Yo me sentía árbol porque el árbol era mi vida (The life of the tree invaded my life I began to feel like a tree And I understood its sadness. I began to cry For my leaves, my roots While a bird fell asleep on the branches Waiting for the wind To ruffle its wings I felt like a tree because the tree was my life)


el tercer paisaje (the third landscape)

national museum of fine arts


Against The Drought of Signs (2019) HD color video, five-channel audio, 13’31’’


el tercer paisaje (the third landscape)

national museum of fine arts


Photography: Sebastían Mejías

Fanzine (2019) Etienne de France, Leonel Lienlaf, Diego Milos and William Skene. Soft cover, 28 pages, 13 x 21 cm


el tercer paisaje (the third landscape)

national museum of fine arts



Presented in this room for the first time to the public are the 12 books written by Sergio Larraín between 1987 and 2012, edited by the author himself and bound and distributed with the support of the Lom publishing house, to which he sent the books from his retreat in Tulahuén and Ovalle. Photocopies of manuscripts are interspersed with images and drawings to transmit the photographer's convictions about living a simple life in contact with nature while cultivating the spirit through meditation.

# present, consciousness, reality, attention, rhythm Sergio Larrain (Santiago, 1931 ​- Ovalle, 2012) was a renowned Chilean photographer. At the age of eighteen he traveled to the United States to

Loose sheets of the Kinder planetario are available on the table in this room for everyone to compose their own copy and thus continue the dissemination of the message transmitted by the photographer during the years he lived in retreat in the Andean valley.

study forestry engineering in Berkeley (California). He quickly became attracted to photography, so he moved to Michigan, where he began his training. He returned to Chile in 1951 and held his first exhibition

Autoprogramación (control), undated. Reconciliación (control), undated. Ejercicios superiores, undated. [En el punto], undated. La realidad (control), 1985. El Reino, 1987. El manzano, 1990. En el día, 1991. La realidad (control), 2007. Velero, 2010. Aquí y ahora (control), 2010. La luz establecida, 2012.

in Santiago in 1953. He and American artist Sheila A.W. Hicks exhibited in this same museum in 1958. In 1959, invited by the French photographer Henri CartierBresson, he joined the Magnum agency, an association of photojournalists and one of the most influential circles of artists in the history of photography worldwide. He made photo-reportages in Europe and the Middle East with his home in Valparaíso as his point of return and departure.

El manzano (cover) (1990) Sergio Larrain


el tercer paisaje (the third landscape)

national museum of fine arts


el tercer paisaje (the third landscape)

national museum of fine arts



el tercer paisaje (the third landscape)

national museum of fine arts



Otorgar al tercer paisaje el rol de matriz de un paisaje global en devenir. Gilles Clément, Manifiesto del tercer paisaje. (Granting the third landscape a role as the matrix of a global landscape in the making. Gilles Clément, Third Landscape Manifesto)

Sergio Larraín's Kinder planetario connects in this space with Gilles Clément's Manifiesto del tercer paisaje and his notion of the planetary garden. It also connects with a selection of works from the Chilean art collection of the Museo Nacional de Bellas Artes and paintings by Larraín himself and his family. From the ensemble of works emerges reflections on the ways of being human on Earth, warnings about the consequences of our actions, calls for attention to the spatial dimension, the commonplace, and the concept of the planetary garden. The room offers a tour around three scales of human interaction with nature, namely the wasteland or abandoned place where weeds enter as pioneers to restore non-human equilibrium; the garden as a space contained by human intervention; and the planet as a state of collective consciousness. The group of works presented in this room seeks to direct the gaze towards diverse attempts to restore the ecological balance, understand the cyclical nature of life and reorient human action, proposing a continuity between Gilles Clément's Jardín planetario (Planetary Garden) and Sergio Larraín's Kinder planetario (Planetary Kindergarten) as guides to compose "El cuarto mundo" (The Fourth World).

Abandoned Garden (detail) (1919) Manuel Gallinato Museo Nacional de Bellas Artes Collection


el tercer paisaje (the third landscape)

national museum of fine arts


El cautiverio feliz

Jardín abandonado

Paisaje de primavera

Aloe estrellado


En azules

Paisaje Imaginario I

Adolfo Couve (1940-1998)

Natalia Babarovic (1966)

Manuel Gallinato (1893-1968)

Pedro Lira (1845-1912)

Francisco Samper (1956)

Juan Francisco González

Francisco Samper (1956)

Gregoria Larrain (1961)






(1853-1933), s.f.


2018 - 2019

30 x 40 cm

160 x 740 cm

30 x 40 cm

88 x 124 cm

40 x 50 cm

35,5 x 45,5 cm

170 x 110 cm

50 x 45 cm

Surdoc 2-1230

Surdoc 2-2687

Surdoc 2-1072

Surdoc 2-180

Private collection

Surdoc 2-1110

Private collection

Private collection

Frutas y pan

No ha lugar

Jardín agreste

Flor del paraíso


Paisaje con cercos

La exhalación del surco

Paisaje Imaginario II

Sergio Larrain (1931-2012)

Voluspa Jarpa (1971)

Pablo Burchard (1875-1964)

Gregoria Larrain (1961)

Gregoria Larrain (1961)

Israel Roa (1909-2002)

Gracia Barrios (1927)

Gregoria Larrain (1961)

ca. 1983-2000







2018 - 2019

31 x 23 cm.

230 x 300 cm

65 x 65 cm

38 x 42 cm

40 x 49 cm

63 x 79 cm

320 x 200 cm

50 x 45 cm

Private collection

Surdoc 2-2710

Surdoc 2-311

Private collection

Private collection

Surdoc 2-4964

Surdoc 2-2688

Private collection

Topografía VII

La ciencia

Paisaje Imaginario IV

Paisaje Imaginario VI

Haga rico a Chile

El estado despierto

La semilla

The installation of this room

Luis Rojas Quijada (1942)

Julio Escámez (1925-2015)

Gregoria Larrain (1961)

Gregoria Larrain (1961)

Juan Downey (1940-1993)

Sergio Larrain (1931-2012)

Wilma Hannig (1920)

counted with the collaboration



2018 - 2019

2018 - 2019


ca. 1982 - 2000


of the team of the Museo

100 x 160 cm

67 x 90,5

50 x 45 cm

50 x 45 cm

67 x 90,5 cm

92 x 42 cm

71 x 38 x 34 cm

Nacional de Bellas Artes,

Surdoc 2-588

Surdoc 2-1035

Private collection

Private collection

Sudoc: 2-4384

Private collection

Surdoc 2-1137

Gregoria Larraín, Francisco


Paisaje Imaginario III

Paisaje Imaginario V

Fango original, ojo con los

Transfiriendo sistemas

El bien vence al mal

Sergio Montecinos (1916-1997)

Gregoria Larrain (1961)

Gregoria Larrain (1961)



Sergio Larrain (1931-2012)


2018 - 2019

2018 - 2019

Roberto Matta (1911-2002)

Juan Navarro Baldeweg (1939)

ca. 1982 - 2000

The work, covered with a

165 x 141 cm

50 x 45 cm

50 x 45 cm



36 x 45 cm

black square had to be blacked

Surdoc 2-566

Private collection

Private collection

265,5 x 486 cm

67 x 90,5 cm

Private collection

out due to international

Surdoc 2-58

Surdoc 2-4441

Samper, Bárbara Piffre and


el tercer paisaje (the third landscape)

national museum of fine arts

Editorial Lom.

intellectual property regulations.



A tour of the house where photographer Sergio Larraín lived shows, among other areas, the room where he died on February 7, 2012 and his secret photographic laboratory behind the kitchen. This house and garden no longer exist, so the record is also a ghostly echo of a potential yet fleeting way of life.

# Sergio Larraín, Ovalle, garden, photography, spiritual retreat, yoga Gregoria Larrain Truel (Santiago, 1961). After spending her childhood and adolescence in Paris, she went to art school at RISD in 1980 and participated in theater plays and films. In 1982, she arrived in Chile and completed her painting studies at the Universidad Católica. She made several exhibitions of watercolor and drawing. In 2002 she moved to Ovalle and then to La Serena, where she reunited with her father, the photographer Sergio Larraín. She organized workshops for patients at the hospital and Hogar de Cristo charity residence, and gave watercolor painting lessons. She received support from the Limarí Museum and in Santiago from the Bucci Gallery. In 2012, after the death of her father, the painter

La casa del fotógrafo (Ovalle)

decided to return to the capital. She wrote

HD Video, color, 6’26’’

Mi padre, la pintura y yo (2013). She has made some videos and is currently preparing two exhibitions of her pictorial work.


el tercer paisaje (the third landscape)

national museum of fine arts


el tercer paisaje (the third landscape)

national museum of fine arts


Dar reversa proposes a crack in the museum's false wall to reveal the passage of time. The work is an archeological exercise that insinuates the original form of the Palace of Fine Arts; a trial (and error) of reversing the chronology and revealing the successive layers of interventions, wear and tear, and changes in materiality and technique. Designed at the beginning of the 20th century by Chilean-French architect Emile Jéquier, the building was inaugurated in 1910 to mark the centennial of the proclamation of the Republic of Chile. Its purpose was to house the Academy on the west side and the Museum to the east. Its architectural style, the model of artistic education and the paintings, engravings and sculptures that were housed there, respond to an idea of art as an instrument for the construction of a national imaginary oriented by European culture as an aesthetic standard. The first works that occupied this rotunda were, precisely, those of German artists who were part of that country's entry to the "International Exhibition of Fine Arts of the Centennial". There are nearly no records of their names.

# window, plaster, archaeology, archive, Fine Arts Palace Sebastián Preece (1972) holds a degree in Arts from the Universidad Arcis. He currently lives and works in Santiago de Chile. Since the 1990s, the artist has been investigating the life cycle of architectural spaces and the way in which they affect the individuals who inhabit them. To this end, he makes journeys through buildings, which he deconstructs, cuts and excavates to expose the material of residual spaces in disuse. He is also concerned with returning

The installation reminds us of the initial conditions of the Palacio de Bellas Artes. It reminds us, for example, that its central hall resembled a large greenhouse where, among the sculptures, there were also plants of various kinds. The open window in the rotunda appeals to the experience of touring the museum: these circular rooms were offered as spaces for rest and contemplation, with a large armchair, also circular, in the center.

to abandoned places, observing the organic restitution that time exerts on the metamorphosis of objects.

Preece lets natural light re-enter an indoor space that, like most urban buildings we inhabit, gives preference to illumination through electricity grids. Dar reversa is also the metaphorical link between the crack -a common element in a territory of telluric nature- and the window, the starting point of artistic creations that represent nature from a frame, such as painting. The urban landscape that creeps into the room reveals the artifice. The city is shown in its conflicting modernity with the park and traffic, the pollution and view of the mountain range, the beggars, tourists and jugglers who feed the experience of total disorientation. Collaborators: Manuel Peralta, Manuel Alvarado, Library of the Museo Nacional de Bellas Artes.


el tercer paisaje (the third landscape)

national museum of fine arts

el tercer paisaje (the third landscape)

national museum of fine arts

Crust of mural paint. Yellow plastic ball found on the balcony, irregularly sunburned. Niche walled, drill hole, coated. 3,20 x 1,50 m

Window, 4.80 x 3.30 m. Trupan, pine and plaster dust cap removed (pieces do not correspond to the original construction), 0.36 x 3.30 m


el tercer paisaje (the third landscape)

national museum of fine arts



This work is a resonant party, a sound celebration in which, through a musical composition dedicated to the Lyra Constellation, a space of cacophonies and vibrations is built. The composition is orchestrated by a quintet of sound artifacts: the Alien Parasitic Orchestra, which simultaneously makes noises and movements triggered by the vibrations of sound, creating a choreographic party of chance, a dynamic rite of repetition and trance.

# Orpheus and the Bacchantes, Lyra Constellation, ritual, cacophony, alien Nicole L’Huillier (1985) is a transdisciplinary artist based in Boston, USA where she studies and collaborates

All the elements of the room dialogue with the myth of Orpheus and the Bacchantes, which explains the origin of the constellation. The work seeks to reclaim the image of the Bacchantes and rediscover, through the celebration of nature, the wild, the madness, the alien (or foreign) to compose collective symphonies that give way to a strange beauty (old and new at the same time). The figure of Orpheus as the classical hero who masters the lyre -an instrument that embodies the culture of technology- is dismembered by the collaborative and transversal voice of the Bacchantes, trans-specific, wild, semi-human beings endowed with non-rational powers. El canto de la Lira rota (The Song of the Broken Lyre) is a video that records, through fiction, the process of recognition and breaking of a lyre, an instrument built especially for the occasion.

as a research assistant in the Opera of the Future group, part of the Space Exploration Initiative, both at the MIT Media Lab. She is also part of the experimental music duo Breaking Forms. Through installations, performances, sculptures, compositions and multiple transductions, the artist explores human and non-human performativity, as well as the material and constructive dimensions of vibrations and sound. She was the Chilean artist selected to participate in

With this call to the ancient myth, the lyre descends from its celestial throne and cracks upon striking the Earth, giving life to an interstellar chorus of hybrid nature. Those of us who are here are part of this cosmic choreography where the limits of things are more porous than our habits let us perceive. This installation invites us to listen in order to emerge together, to free ourselves from the fear of noise and to enter into a collective ritual of vibrations and resonances that celebrate the multiplicity of voices, the diverse types of beauty, delirium.

Simetría, a transdisciplinary residency program, co-organized by the CChV, ALMA-ESO, CERN and Pro Helvetia.

Scientific Allies: Residencia Simetría (CERN-ESO-ALMA), Museo de Arte Precolombino. Collaborators: Corporación Chilena del Video, Bill Dent, UNO A MIL, Joaquín González, Daniela Saldaña, Simonne Wall, Juan Necochea, Juan Toledo. This work was realized thanks to the financing and support of Bank of America, Merrill Lynch and Fundación Antenna, and currently belongs to the collection of the Museo de Arte Contemporáneo de Santiago.


el tercer paisaje (the third landscape)

national museum of fine arts

Beta (Sheliak)

Zeta (Zeta1 Lyrae)

Lira de greda.

Static vibrating body, resonant membrane. Transducer, amplifier,

Rotating sound body. Painted bidirectional loudspeaker, amplifier,

Five spherical clay bodies that compose the main stars of the

battery, electronic components, corrugated steel wave plate

battery, electronic components, acrylic sphere covered in fringe,

constellation Lyra, broken against the ground in the performance of

coated in zinc and aluminum, recovered, polished and painted,

feather, copper tube, rotating base, sound composition

the initial rite. Manufacture by Juan Toledo, 2019

side covers coated with aluminum cylinders, sound and vibration composition

Enrique Lihn, La musiquilla de las pobres esferas (The little music of the poor spheres). Santiago de Chile: Editorial Universitaria, 1969 (p. 20)

Gamma (Sulafat)

La Lira caída (constelación demarcada en el suelo)

Vibrating body in movement, dancing body. Transducer, amplifier,

(The Fallen Lyre (constellation demarcated on the ground))

El canto de la Lira rota (2019)

battery, electronic components, stainless steel wires, mdf,

Polished stainless-steel plates fixed to the floor, hand engraved

The Song of the Broken Lyre (2019)

3D printing, coated metal mesh dome, sound and movement

with fragment of Enrique Lihn's poem, "La musiquilla de las

Video, croma, collage, 10’


pobres esferas" (The little music of the poor spheres).


el tercer paisaje (the third landscape)

national museum of fine arts


Orfeo atacado por las bacantes (1904) (Orpheus attacked by the Bacchantes) Fernando Álvarez de Sotomayor (1875-1960). Oil on canvas 296 x 233 cm Museo Nacional de Bellas Artes Collection, Surdoc 2-676

Delta (Delta1 Lyrae) Static vibrating body, resonant multiple body. Transducer, amplifier, drums, electronic components, drum cymbals, stainless steel wires, mdf, 3D printing, sound and vibration composition.


el tercer paisaje (the third landscape)

national museum of fine arts

Coro bacanal Talking trunk with 11 voices. Burnished and polished plum tree trunk, painted loudspeakers (variable measurements), multichannel sound player, amplifiers, audio cables, multichannel sound composition


el tercer paisaje (the third landscape)

national museum of fine arts


Delira, partitura gráfica (Delira, graphic score) 2 mm copper plate, circular cut 90 cm diameter, engraved and polished, focal point

Alpha (Vega) Vibrating body in motion, dancing body. Transducer, amplifier, battery, electronic components, stainless steel wires, mdf, 3D printing, coated stainless steel, sound and movement composition.


el tercer paisaje (the third landscape)

national museum of fine arts


The artist intervenes in four radio frequencies, accessible from the second floor of the Museo Nacional de Bellas Artes, which are transmitted from several FM transmitters and tuned by 14 collected radio sets. The transmission gives rise to the continuous, oscillating wave of white noise, the sound associated with interference. The sonic wave moves from radio to radio through the installation, passing through the body of visitors and pieces in the museum's collection on display in the room.

# FM frequencies, FM, noise pollution, obsolescence, Norway, electromagnetic waves, interference Maia Urstad (Kristiansand, Noruega, 1954). Trained at the National Academy of Art in Bergen in 1981, she was a member of

Understanding sound as both terrain and matter, Maia Urstad's work MURMUR examines the field of electromagnetic waves that, as a result of the progress of technologies and the homogenization of listening, have become a sonic wasteland. Due to the radio station migration that took place in Norway during 2017 in which public broadcasts moved from FM frequency to digital DAB+ only, the diversity of programmers was reduced to a few local stations, leaving the FM frequencies as ghost media that carry the vestiges of a community sound interconnection, today reduced to interference and wasteland stations.

the ska/new-wave band Program 81, with whom she recorded four albums. An artist with a long and recognized trajectory in the field of sound experimentation, she works at the intersection of audio and visual arts to reflect on technological progress and communication technologies as subjects of an evanescent world.

The installation is an ode to the sounds we find on the edge, between the highly present and the forever expired. The work is placed in dialogue with the Lota el silencio painting by artist José Balmes (2007). This also speaks of the technological transition whose implications transform the way of life of a community adapted to more than a century of coal mining. Both pieces attempt to give voice to a reality that, having been abandoned, is now silent. From this place, the installation connects the northern and southern hemispheres of the Earth, exchanging experiences and comparing mechanisms of social and political regulation. The intention of the exhibition De aquí a la modernidad (From here to modernity) is thus amplified, highlighting conflicts that culminate in the exclusion and silencing of those who move the wheels of progress and modernity. This work was made possible thanks to the support of the Office for Contemporary Art Norway (OCA).


el tercer paisaje (the third landscape)

national museum of fine arts

Fourteen FM handheld radios, four FM transmitters,

Lota el silencio (2007)

one multichannel player, steel cables.

José Balmes. Mixed media on canvas, 170 x 360 cm Museo Nacional de Bellas Artes Collection, Surdoc 2-2712 Maternidad (ca. 1940) Laura Rodig. Reconstituted stone, 125 x 65 x 65 cm Museo Nacional de Bellas Artes Surdoc 2-2078


el tercer paisaje (the third landscape)

national museum of fine arts



LOS LÍMITES DE LA TIERRA (the limits of the earth)

DECEMBER 06, 2019 - JANUARY 26, 2020


Seventy-three years ago, the first portrait of our planet was taken from outer space. That partial, black-and-white image led to a sequence of photographs that firmly established the small blue sphere silently traversing the blackness of space in our imagination. That vision transformed our perspective forever, making a visual argument for the expectation of expanding all material limits, including those of the planet. This matter now reveals itself to be under radical change. The carburation of oil and gas fossil fuels modifies soils, seas and the atmosphere. Non-biodegradable materials saturate every surface. Experimentation with atomic energy adds to forces whose inertia is beyond human control. The annihilation of thousands of forms of wildlife is coupled with the invention of artificial life forms that displace the boundaries of nature. This is known, measured and proven, but having the information has not been enough to trigger an about-face or to reduce these impacts. The pieces collected in this text depict the devastated territory with precision and intentions on the level of the scientific method. The question is what do we do now, having recognized these limits? This exhibition observes the reorientation of scientific knowledge and brings together a body of artwork that explores ways of recomposing the image of the planet from within. The artists present their works as exploratory reports, the results recognizing territories through travel, using measuring tools, taking samples, creating stories based on experiences and constructing data that are added to the archive of a landscape that is presented as a boundary. These shared practices between art and science are reflected in the works of artists from Switzerland and Chile, who wish to acknowledge the limits of our vital space in order to trace our way back to Earth. "The Limits of the Earth" is a curatorial proposal made by the team of the 14th Biennial of Media Arts of Santiago together with Jean-Paul Felley, guest curator from Switzerland. The exhibition spatially and metaphorically connects with "The Third Landscape" displayed at the Museo Nacional de Bellas Artes, providing continuity to the exhibitions of “El Cuarto Mundo” ("The Fourth World").

View of the Earth from a camera on the V-2 rocket #13, launched on 24 October 1946. (White Sands Missile Range/Applied Physics Laboratory) U.S. Army


los límites de la tierra (the limits of the earth)

museum of contemporary art




The moving image has been a component of Swiss art for the past 40 years. The artists presented in this exhibition are among its most notable exponents. The selection that we proposed for inclusion in "The Fourth World" 14th Biennial of Media Arts of Santiago reveals moments along this timeline, connecting different generations, techniques, styles and poetics, with the aim of exploring some of the forms taken by nature in today's Swiss art.

Jean-Paul Felley (1966) is the director of the EDHEA (Valais School of Art and Design), one of the ten programs of the HES-SO Valais-Wallis. Since 1989 he has been organizing architecture, design and contemporary art exhibitions. He has authored various publications and

In 1975, Silvie and Chérif Defraoui decided to sign their works together under the title Archives du futur (Archives of the future). A year later, they started an educational project at the École supérieure d'arts visuels (now HEAD, Geneva) called Média Mixte (Mixed Media) in which they encouraged their students to work with photography, Super-8 and then video. That same year, Roman Signer began filming his site-specific performances or "actions" on Super-8, a technique he used until 1993, when he made the definitive switch to video.


In 2019 Chile was about to be at the center of the world’s focus. The COP and APEC meetings would converge for a short time to set the course for a more sustainable development, both in economic and artistic fields. But everything changed. The social reassessment triggered a revolution of thought in the way we approach and politically reorganize our coexistence. A process of approaching nature, of seeking a connected and synchronized world, has begun. These phases of transition, of reconsideration, are forcing us into a change of consciousness and highlight the role of the arts as a gateway to a paradigm shift.

Along with Olivier Kaeser, he directed the Swiss Cultural Center in Paris, part of the Pro Helvetia Foundation, from 2008 to 2018. During this period in Paris he also put on theater and dance performances as well as concerts.

Twenty years later in 1995, Ursula Biemann was appointed curator at the Shedhalle in Zurich. Committed to revealing the material conditions of the current socio-economic system, she composed Performing the Border (1999), her first film essay dedicated to acknowledging the role of women workers in the hightech industry on the US-Mexico border. Since then, she has been a pioneer in incorporating war and scientific technologies into her audiovisual narrative and in connecting artistic work with that of intellectuals and activists, turning her work into a documentary platform for recording the complexity of today's world.

This selection of five artists from Switzerland shows the history of visual art represented by artists from different generations. Curator Jean-Paul Felley made this careful selection. The artists prepare strategies for acknowledging nature in different areas of the planet through their works, which are conceived as tools for exploring changing landscapes. Art can build awareness and understanding of an environment that has changed drastically in recent decades and initiate a process of profound change. The Swiss Embassy and the Swiss Arts Council Pro Helvetia promote and support collaborative processes among artists, connecting art, science and nature.

Part of a younger generation, Pauline Julier uses cinematic language to interweave the scientific and mythical imaginaries that shape Western approaches to culture. The video Noah (2010) amplifies the metaphors of the biblical story to the current socio-environmental crisis, showing a sinking body in a sea of ice. Just one year later, Julian Charrière addressed this same catastrophic relationship between humans and the environment through phantasmagorical fiction by generating false landscapes of mountains in Panoramen (2011) that put our perception of the natural in check. The works of these five artists show a diversity of ways of approaching nature 200,000 years after the emergence of modern Homo sapiens, echoing the central theme of the 14th Biennial of Media Arts, "El Cuarto Mundo" (“The Fourth World”). In the exercise of acknowledging "The Limits of the Earth", we recall the image that the French sociologist Bruno Latour relates in Pauline Julier's film, where the pilot of an airplane announces to the passengers that the intended destination no longer exists and that, unfortunately, the point of departure has also disappeared.

1 «Laisser derrière les larmes» is one of the seven statements chosen by Silvie Defraoui for her installation La rivière in the Canterela series.


los límites de la tierra (the los limits límitesofdethe la earth) tierra

museumdeofarte museo contemporary contemporáneo art



“The idea has been maturing for many years and has now taken definitive form. The fundamental guiding thought is that of germination and birth -in the literal and figurative sense- symbolized in the two central characters, which, in turn, are part of the whole, that is, of the Universe, which drags them along in its rotating and fertilizing movement. For one thing, the round shape that orients the work is precisely that principle that gives life within our planetary system,” Albert explains, adding that "within the fundamental conception of this work, the man carries the woman, since he constitutes the manifestation of strength, while she leans on him, as an expression of love.” (Interview with Tótila Albert in El Mercurio, 1957)

# universe, earth, life, balance, love Tótila Albert Schneider was born in Santiago de Chile on November 30th, 1892. In 1915 he moved to Europe with his father, the scientist and naturalist Federico Albert (1867-1928), settling in the city of Berlin where he studied sculpture at the Academy of Fine Arts and in the workshop of the modernist

The sculptor said that for many years, an image of the Earth was growing in his imagination. One seminal point was certainly the sculpture Erder (The Earth) by Franz Metzner, his German master. In it, a single block of white stone gives shape to a male body that, contorted into a sphere, embodies the continuity between the individual and the cosmos. Albert expands into duality, uniting the feminine and masculine bodies on Earth. Nature is all of the space that is formed between these bodies.

sculptor Franz Metzner (1870-1919). Back in Chile he exhibited in the same circles of the Montparnasse group. In 1929 Tótila returned to Europe in the company of 30 other national artists, later known as the Generation of '28, supported by a scholarship granted by the Chilean State, when the Academy

In 1972, the work was part of the selection of Chilean art exhibited at the National Museum of Fine Arts during the UNCTAD III meeting in Santiago. As with El Cuarto Mundo by Carlos Ortúzar, the Kinder Planetario by Sergio Larraín, and other works from the recent history of Chilean art, we wanted to include this sculpture in the 14th Biennial of Media Arts, finding it serves as a point of reference to guide us on our way back to Earth.

of Fine Arts was dissolved. He lived in Germany until the beginning of World War II, and then returned to Chile to work as a professor of sculpture at the University of Chile. He died in Santiago on September 27th, 1967.

Collaborators: Óscar Mancilla, Marisol Richter, Matías Allende, Pamela Navarro, Museo de Arte Contemporáneo.

La Tierra -The Earth (1957) Patinated bronze 103 x 87 x 70 cm (from original plaster cast, 1957). Museum of Contemporary Art Collection, Universidad de Chile, 2007


los límites de la tierra (the limits of the earth)

museum of contemporary art



La deriva de los horizontes turns the museum into a ship and a river. The eight oars installed in the central hall replicate an earlier action; the placement of these same oars on the old bridge that used to join the neighborhoods of San Antonio and Santo Domingo, crossing the Maipo River. The Lo Gallardo bridge, a concrete and iron structure, collapsed in the 1971 earthquake during the government of Salvador Allende, and since then it has become, like an immense ruin, a landscape of multiple levels.

# shared horizons, bridge in ruins, Maipo River, oars Sebastián Maquieira (Santiago, Chile, 1978) has an Arts degree in with a major in Painting from the Finis Terrae University. He currently lives

Transformed into a ship, the bridge crosses the river, the museum and time itself, indicating in its journey the current exploitation of common goods, such as the same water from the source of the Maipo in the Andes, or life and dignity in the Tejas Verdes detention and torture center, located a few kilometers away. Seismic and political fractures overlap, turning the collapse of this infrastructure in the early 1970s into a symbol. Almost destroyed, the bridge-ship shows the gradual impoverishment of the countryside of the central region and, at the end of time, of an ancestral life, when the mouth of the Maipo River was the residential space of pottery villages of which we recall nearly nothing, including their names.

and works in Santiago. In his work he explores the aesthetic, functional and symbolic qualities that give shape to certain objects and materials provided by our cultural environment. In its manipulation, rearrangement, assembly and intervention, he poses an aesthetic perspective around the generation of knowledge, the construction of social identities and the uncertain forms of history.

Rowing is one of mankind's most archaic and enduring technologies. It is an extension of the physical strength of the body and a point of interaction with the element of water, which serves as our sustenance and medium. Arranged as a group, the eight oars form an allegory of common work, referring to the collaborative action of rowing as a coordinated choreography between bodies, technologies and nature. The displacement of these oars to the MAC opens up new dialogues. The museum becomes a possible bridge between art and society. From an old school and repository of fine art pieces to a shelter for contemporary creativity, this building has resisted violent earthquakes over the years, including fires, such as the one in 1969, but nothing has challenged it more than material precariousness and the lack of attention from those in power. The ends of the Earth, once imagined as populated by monsters, have been reached by sail and oar. It is the determination of human collectives that motivates us to move forward, on such an absurd ship on an increasingly critical journey with no other destination than the passage of time. Collaborators: Rosamel Pailimilla, Cecilia Villanueva, Martín Hernández, Cristián Silva-Avaria, Fernando Balmaceda, Julio Mosso, Sebastián Arce, Víctor Jofré, Loa Bascuñán, Matías Allende, Viviana Parraguez, Alejandro Chaparro.


los límites de la tierra (the limits of the earth)

museum of contemporary art

Eight oars. Wood and pine wood chips, lime, salt, earth, various objects and

La deriva de los horizontes II (The drifting of horizons II)

discarded fragments such as plastics, glass and metals found in the streets of

Inkjet print on cotton paper, 99 x 62 cm

downtown Santiago and on the banks of the Mapocho River. 6 x 34 x 500 cm. La deriva de los horizontes III (The drifting of horizons III) HD video loop, 13’ 56” Piece made in collaboration with Cristián Silva-Avaria


los límites de la tierra (the limits of the earth)

museum of contemporary art



Jardín vertical is a living installation inspired by urban gardens to encourage an intimate, everyday relationship between humans and plants. It rises like a window towards lost spaces, taking advantage of the natural light entering the museum.


Through simple gestures and materials, the work proposes an easy to build and adaptable design, thus extending the useful life of plastic waste initially designed for a single use before being discarded. This will enable the growth of plants that will fix the same carbon emitted during its manufacture. In response to the most extreme drought that Chile has suffered since records began, Jardín Vertical also proposes a respectful use of water through cyclical irrigation, thus reusing the nutrients and water that run off as the liquid passes through each column of substrate.

Benito Rosende (Santiago, Chile, 1991)

reuse of materials, water circuits, modular structures, interspecies connection, urban garden

has a degree in Biology (UNAB), PhD (c) in Biological Sciences, with a minor in Ecology (PUC). He has done research on recognizing the characteristics of the sclerophyll forest in the Mediterranean area of Chile. He pursues photography and illustration as part of his naturalist practice and is co-founder of the

The work consists of a metal and wood frame that serves as a support for columns made of PET bottles joined by cable ties. Inverted and placed in tandem, the bottles form a continuum of substrate where different plants can grow, one on top of another. Drainage bottles with a portion of sand are placed at the upper end of the columns, which allows dosed watering through the holes. Excess water is collected in planters at the lower end of the columns. The water is reused for irrigation, generating a circuit that returns nutrients to the substrate while reducing overall water consumption.

environmental education initiative PropagaNativas.

Jardín vertical shifts the traditional horizontal axis of the so-called "green areas", those strongholds of vegetation that limit diversity to a few flowers and grasses, a simulacrum of nature that barely survives in the city. As it grows, this living wall mutates from a showcase of medicinal and decorative herbs to a true hillside that breathes, transpires and drains water. The species that are part of this garden speak to the therapeutic power of plants, both for their healing properties and their beauty. Collaborators: Eugenio González, Beatriz Palma Brushed 2 x 1 cm pine poles ACMA mesh Reused PET bottles Cable ties Sand Leafy soil Perlite Humus Plastic planters Ornamental plants Medicinal herbs


los límites de la tierra (the limits of the earth)

museum of contemporary art



Naturalis Historiae is a film essay in which narratives of nature are superimposed. Filmed in China, France and Italy, each story integrates diverse forms of perception, knowledge and imagination of the landscapes that shape the lifestyles of those who inhabit them. The question that mobilizes the artist is to note something as evident as it is complex; nature is not presented to everyone in the same way. It does not mean the same thing to everyone. For her, nature is something we can look at. For others, the notion of landscape does not even exist. Pauline Julier's subjective perspective is projected, from a documentary point of view, to the viewpoints of the social and natural sciences, art, history and philosophy, forming a panorama in which each angle narrates the tragic intervention of humans in natural history.

# anthropocene, geology, Pompeii forest, volcano, archive, miracle Pauline Julier (Ginebra, Suiza, 1981) studied at the Institut d'Études Politiques Grenoble, at the National School of Photography in Arles and at the Experimental Program of Political Art at Science Po, Paris. She currently lives and works in Geneva, Switzerland. Pauline's work focuses on humans and their

This choral narrative focuses on a fossil landscape, the forests of Pompeii, destroyed and at the same time preserved by the volcanic eruption of 1979. The artist interviews a group of scientists who monitor the slightest movement of the volcano dominating the landscape of Naples in southern Italy. As happened with the eruption described by Pliny the Younger, an eruption of Vesuvius could affect millions of people and the entire old and impoverished urban and rural structure, which today still has no evacuation plan. The precision of scientific knowledge proved insufficient for taking adaptive measures. In the face of imminent destruction, the inhabitants of Naples entrusted themselves to San Gennaro, the saint responsible for calming the fury of the volcano. Natural history does indeed touch on the vast, precise and complex terrain of the sciences, but also of the irrational, the imaginary, the mythological and ritual. In fact, Pauline Julier's essay culminates with a sacrifice: the "suicide" of the Cassini space probe. As it closely approached Saturn, it either exploded or was absorbed by a black hole.

environment, questioning the connection between memory, transfer of knowledge and representations: How do we pass on culture from one generation to the next? How can we orient ourselves in time and


space? Addressing these questions, the

HD & 16 mm Video, stereo, 56’, color

artist explores the uneasy relationship between tradition, inheritance and the ways in which each generation faces these challenges.

Collaborators: Jun Wang, Bruno Latour, Philippe Descola, Marion Neumann, Xavier Lavorel, Ouyang Xiaodong, Lucrezia Lippi, Luciano Dell'aglio, Raphaël Frauenfelder (Studio HEAD), Giorgio d'Imperio (Freestudios), Maxence Ciekawy, François Fruit, Marie Orsi, Elodie Olson-Koons, Titrafilm, Le Poulpe, Les Films du Chalet, Fonds Municipal d'Art Contemporain Genève, Fonds Cantonal d'Art Contemporain Genève, Centre National des Arts Plastiques France, Centre Culturel Suisse de Paris, Ferme Asile Sion, Haute École d'Art et de Design Genève, Département Cinéma/ Cinéma du Réel, Grato Language Solutions.


los límites de la tierra (the limits of the earth)

museum of contemporary art



los límites de la tierra (the limits of the earth)

museum of contemporary art



Las ruinas de la coexistencia was born as an extension of the project Coexistencia y afectividad entre humanos y no humanos (Coexistence and affectivity between humans and non-humans), an interdisciplinary research project that combines the fields of design, anthropology, biology and art. It also combines different rationalities, as it involves a constant exchange between human agents and two chimpanzees, Judy and Gombe. Based on the development of prototyping processes of "environmental enrichment" devices and their installation in the enclosures inhabited by the chimpanzees at the Zoo, the Cosmopolítica Collective has designed an interspecies musical instrument. Will it be possible to reestablish a relationship between humans and other species that does not involve subjugation, even within the grid of urban nature?

# cosmopolitics, interspecies affectivity, ocularcentrism, sonority, design, anthropology, prototype Colectivo Cosmopolítica (Cosmopolitical Design Project) is a research group that traverses the fields of design, anthropology and sociology, formed by Pablo Hermanssen, Felipe Palma, Marco Chillet, Martín Tironi, Teresa Ariztía, José Guerra and Ismael Aguirre.

Based on the practice of mutual correspondence, the prototype was used as an instrument of exploration and a means of "cosmopolitical" encounter. This term was proposed by the philosopher of sciences Isabelle Stengers and tests out a vulnerable way of thinking and approaching the world that expands the category of being a subject of law, affection, care and coexistence to include non-human entities. Working on building an object by feeling it out without having any pre-established designs turns a prototype into a technology that is more than human and offers the conditions to speculate about other ways to coexist in a world that is collapsing under a socio-environmental crisis.

The exploration of the capabilities of speculative design and prototyping allows us to rethink the ways in which humans and non-humans relate to each other, and the diversified forms of knowledge production. Their hypothesis is that prototyping enables an approach to the world that is open to the potential of that which could be, becoming a tool to give voice and political agency to entities

Twenty-two monitors and screens fill up this museum niche from ceiling to floor. Each one of them transmits images of hominids. Scientific documentaries, anime films, science fiction, horror, and even comedy all refer to an imaginary where the estrangement of the quasi-human contrasts with appropriation and subjugation. Ocularcentrism is the main sense of orientation in the West, which is disabled by the overcrowding and repetition of images. At the back of the room, an antique desk alludes to this accumulation, a fundamental method of compartmentalized knowledge, which still shapes our relationship with nature today. The half-burned piece of furniture holds a number of books and a small lamp. The chain that activates the light is also the one that activates the work as a whole, turning off all the screens simultaneously and giving way to a sound track built from interactions between Judy, Gombe and the researchers with the musical prototype serving as mediator.

traditionally marginalized from the political sphere.

Collaborators: ZooMet, Lucas Margota, Diego Gajardo, Hans Millán, Francisco Rodríguez. Metal structure built on site Fourteen flat screens Eight PC monitors Cabinet or desk plus accessories


los límites de la tierra (the limits of the earth)

museum of contemporary art



The image traverses heavy skies above the Marshall Islands, a Micronesian archipelago that was declared a UNESCO World Heritage Site in 2010. Little by little, a sun that looks like something out of a postcard reveals an island that resembles a cliché paradise. We are looking at what is left of a paradise that was ruined by Operation Crossroads, the nuclear testing that the United States conducted on these islands in the Pacific Ocean between 1946 and 1958. This video, which is part of the series called As we used to float, restores a devastated landscape through moving images.

# paradisiacal landscape, micronesia, essay, nuclear, mysticism, destruction Julian Charrière (Morges, Suiza, 1987), is a Swiss-French artist trained at the École cantonale d'art de Valais (today EDHEA), Switzerland. He has also studied at the University of Art in Berlin and the Institut für

The camera dives far below the standard dive profiles to take shots of the casings of warships that the U.S. Navy installed as targets for nuclear testing. The camera emerges vigilant, placed over the ruined bunkers, now overgrown with vegetation. Charrière searches the horizon and in the ceaseless rhythm of the ocean's comings and goings, he is confronted with a beach devoid of any trace of humanity. The calm that emanates from this swaying is contrasted with the hypnotic images of nuclear explosions. The camera movements simultaneously capture the degradation of the atomic-industrial infrastructures of the Bikini Atoll and, through montage and superimposition, the disastrous remains of ships, unintentional monuments of the Anthropocene period.

Raumexperimente, also in Germany, where he currently resides and works. His art unites the fields of environmental science and cultural history. Whether performance, sculpture or photography, his projects emerge from fieldwork in remote places with extreme geophysical identities such

Iroojrilik (2016)

as volcanoes, ice fields and radioactive

Single-channel video installation, 4k video, color, stereo sound

sites. To date, his work has explored post-

21’3’’, 16:9

romantic constructions of "nature," staging

Sound by Edward Davenport

tensions between deep or geological time

Collaborators: Edward Davenport

scales and those related to humanity. Charrière's perspective is a reflection on the myths of quest and objects in a globalized age. Deploying seemingly perennial images to contemporary ends, his contemporary purposes, his interventions, bordering on mysticism, and material encapsulate our own relationship to place today.


los límites de la tierra (the limits of the earth)

museum of contemporary art



los límites de la tierra (the limits of the earth)

museum of contemporary art



Roman Signer selected seven pieces to include in "The Limits of the Earth"; seven short audiovisual stories recorded between 2008 and 2016 on video, including, exceptionally, a record of the artist himself. These "small events", as he prefers to describe his actions, bring a smile to the face at first glance. Upon a second viewing, however, a deep melancholy comes through. The blue pigment that had contained a destroyed sphere within it, disperses as the drone passes by and stains the forest. A shirt without a human who should have been wearing it crosses the landscape. A deliveryman on a tricycle and two closed umbrellas are transported by the tides. What sense does it make today to speak of surrealism, of absurdity, of fiction?

# events, explosions, unforeseen actions, blue Roman Signer (Appenzell, Suiza, 1938) studied sculpture at the Schule für Gestaltung in Lucerne and at the Academy of Fine Arts in Warsaw, Poland. He currently lives and works in Saint Gall, Switzerland. Over the last four decades, Signer has produced dynamic sculptures and installations, also known as "time sculptures", due to his interest in the transformation of materials and objects over time. In his work, acceleration and change are part of the creative process, and he uses photography and moving images to document his work.


los límites de la tierra (the limits of the earth)

museum of contemporary art

Alles fahrt Ski (It's all about skiing) (2014)

Duo Ombrelli (Umbrella duo) (2016)

Video 1’46’’

Video 2’53’’

Collaborators: Tomasz Rogowiec, Tweaklab AG, Basel

Collaborators: Tomasz Rogowiec, Barbara Signer MAN Nuoro, Sardaigne

Blauer Rauch (Blue smoke) (2016)

Hemd (Shirt) (2009)

Video 1’28’’,

Video HD 1’01’’

Collaborators: Tomasz Rogowiec, Aleksandra Signer, Weissbad

Collaborators: Tomasz Rogowiec, Aleksandra Signer


los límites de la tierra (the limits of the earth)

museum of contemporary art


Bürostuhl (Office chair) (2010)

Kugel mit blauer Farbe (Sphere with blue color) (2012)

Video HD 2’

Video HD, 1’18’’

Collaborators: Tomasz Rogowiec, Aleksandra Signer

Collaborators: Bienal de Shanghai, Wangya, von Oben

Unfall als Skulptur (Accident as sculpture) (2008) Video 50’’ Collaborators: Tomasz Rogowiec, Aleksandra Signer, Kunstraum Dornbirn


los límites de la tierra (the limits of the earth)

museum of contemporary art



Fences, barriers, walls and borders are objects that end up permeating every relationship between man and landscape. They are landmarks that embody the rational logics of knowledge, appropriation and exploitation of the environment: demarcation is the action that transforms the landscape into territory. The concrete and stone monoliths mark the points of mining appropriation in the Juncal Andean Park, transforming the landscape into a disputed terrain between conservation and exploitation, and between wildlife and extraction.

# mining exploration concession, drones, photographic research, Parque Andino Juncal Ignacio Acosta (1976) is a Chileanborn visual artist and researcher living and working in London. His artwork

Ignacio Acosta's work consists of a video, two sculptures and a selection of documents and photographs, a set that came about as the initial result of explorations done by the artist in January and October 2019 in the Juncal Andean Park, a private protected area located in the Valparaiso Region where the Aconcagua River originates.

explores vulnerable places through the exploitation of ecology by colonial intervention and intensive capitalization. His interconnected research projects involve extensive fieldwork, research analysis, audio-visual documentation, and

A vertical and divided landscape represents in the video the legal fiction imposed in Chile through the mining code drafted during the dictatorship. It is still in force and in terms of ownership and usufruct rights it creates a separation between soil and subsoil. The fauna and flora of Juncal, adapted to the extreme conditions that characterize the high peaks of the Andes live under the threat of exploitation of copper and gold ore deposits. The mountain to our eyes appears as a landscape unit. It is processed by the socioeconomic system as a container of resources to be exploited that are divisible and disjointed. Through the watchful perspective of the drones, the artist composes a story of vertical views that he combines with testimonies collected from the notebooks Sightings of Flora and Fauna and Mining Logbook in which the park rangers recorded every movement of this protected portion of the mountain.

critical writing on symbolically significant sites and materials of symbolic relevance. He pursues collaborative work with local actors such as activists, artists and writers. His most recent work explores the possibilities of drone technologies as tools of resistance within the struggle for decolonization. He has a PhD in 2016 from the University of Brighton. His thesis Copper Geographies was edited by Editorial RM (2018) and developed as part of Traces

The work is completed with an archive that gathers the evidence of this threat, revealing the violent division of the vast space of the mountain range. Two monoliths are placed inside and outside the museum, replicating to scale what survey markers built in Juncal in January 2019. Erected in the high mountains, these mining markers modify nature, demarcating the point of submission of a landscape to its eventual exploitation. In the museum, however, they become a ritual body that seeks to restore the connection between soil and subsoil. Collaborators: Catherine Kenrick, Tomás Dinges and Juncal Andean Park Rangers. Lara García Reyne, Udit Duseja, Paul Willis, Josefina Guilisasti, Benjamín Matte, María Emilia Martínez, Diego Arenas, Catalina Valdés, Archivo Central Andrés Bello, Núcleo milenio Trazadores de Metales de la Universidad de Chile, CR2, Museo de la Solidaridad Salvador Allende, British Council, Arts Catalyst.


of Nitrate (ww.tracesofnitrate.org), a research project done in collaboration with art and design historian Louise Purbrick and photographer Xavier Ribas, which was funded by the Arts and Humanities Research Council (AHRC).

Bitácora Mineros (Mining Logbook) (2019) Video 8’20’’

los límites de la tierra (the limits of the earth)

museum of contemporary art

La Piedra 27 1-40 (2019) (Stone 27 1-40) Proyecto Caliente (2019) (Caliente Project)

Demarcation monolith of the mining exploration concession (reproduction of

Archive composed of photographs taken by Ignacio Acosta in January 2019 and a selection

the milestones installed in Parque Andino Juncal in January 2019)

of documents about the mining project in the vicinity of the Juncal Andean Park, selected in

Paint, cement and stones, 98 x 98 x 72 cm

collaboration with Tomás Dinges.


los límites de la tierra (the limits of the earth)

museum of contemporary art



The artist couple Silvie and Chérif Defraoui (the latter died in 1994) created a video installation in 1979 whose title has become premonitory: Cartography of the lands to come. In it, fortune-telling hands try to read the future in a crystal ball. Such interplay between images and words has been a part of her work ever since. In the installation Cantarela, which is part of the video El río shown here, a continuous sound of running water is heard. It is the course of a mountain stream that gradually fills a pool with colorful fish that catch fire as if by magic. Overlapping letters begin to slowly parade by, composing phrases that remind whoever is paying attention that "things are not what they seem."

# water, fish, mountain, text/image, future Silvie Defraoui (San Galo, Suiza, 1935) lives in Vufflens-le-Château, Switzerland, and Corbera de Llobregat, Spain. In 1975, Silvie and Chérif Defraoui began producing many works together, which became part of their Archives of the Future. Since Chérif Defraoui's death

The floor is dotted with multicolored paper strips that make up the Singsang II installation whose first version dates back to 1980. The visitor can take one or two strips with them, which have to be replaced from time to time. The same papers are hung on the walls in simple, easy-to-read compositions:

in 1994, Silvie has continued their joint project with her own work.


La Rivière (2009 - 2019) Video, 4’, loop



los límites de la tierra (the limits of the earth)

museum of contemporary art


Singsang II (1980 - 2019) 8 x 50 cm colored paper strips with seven different phrases printed on them


los límites de la tierra (the limits of the earth)

museum of contemporary art



Lofoten is an archipelago located in Norway where the consequences of global warming are felt by all inhabitants, whether human, plant or animal. In her immersive video Acoustic Ocean, Ursula Biemann invites us to get to know these spaces. Emulating a scientific exploration, she condemns the indifference that lingers in the imagination of a whole generation that grew up watching the 1956 Monde du silence (World of silence). In it, a team led by the famous French naturalist Jacques Cousteau destroyed a coral reef with dynamite. Sofia Jannok, a singer and environmental activist who belongs to the ancestral culture of the Sami, plays a scientist who tries to encompass the range of sounds in that ecosystem. Using various measuring instruments, Ursula Biemann records the songs of cetaceans and other small marine animals seeking an increasingly limited space for survival. Her work thus composes a soundscape of scarcity. Ursula Biemann proposes a scientific fiction that accounts for our age as one of defeat. "The proportions of the halls of memory contain images of nearextermination." Collaborators: Michael Graessner, Sofia Jannok, Lydia Zimmermann, Patrick Codenys, Tom Trevor, Pro Helvetia Swiss Council for the Arts, The Atlantic Project: After the Future - in the wake of utopian imaginaries, Plymouth (UK).


# scientIfic instruments, Sami, oceans, cetaceans Ursula Biemann (Küsnacht, Suiza, 1955) studied art in Boston, Mexico and New York. Between 1995 and 1998 she was curator of the Shedhalle Zürich and from 2000 to 2003 she was an academic at the Geneva School of Art. She is an artist, writer and video essayist. She is currently based in Zurich, where her works and texts deal with the relationships and impact of the accelerated mobility of people, resources and information. Part of her work is integrated into the World

Acoustic Ocean (2010)

of Matter project, a digital archive that

Video projection, 19’

brings together works that are visual, reflective, scenic, and more.

los límites de la tierra (the limits of the earth)

museum of contemporary art



los límites de la tierra (the limits of the earth)

museum of contemporary art



This archive is complemented by a record of histological sections of seeds collected from the Atacama Desert arranged in a series of eight light boxes. Between 2015 and 2016, agronomist Josefina Hepp collected seeds of five species in different locations in the northern and central regions of the country. Back in Santiago, she worked the samples by fixing the seeds in FAA (Formaldehyde - Alcohol - Acetic Acid) and then dehydrating and preserving them in kerosene. Subsequently, cross-wise and longitudinal histological sections were made using a microtome (up to a thickness of 16 µm) and stained with a solution of safranin-fast-green. Finally, sections were observed under an optical microscope and photographed using a Moticam 5 camera. The size of the seeds varied between 1 and 6 mm in length, so the images had to be magnified between 40x and 400x. The image of these magnified seeds provides a glimpse of the desert from a supernatural perspective.

# water, fish, mountain, text/image, future

Josefina Hepp (Edimburgo, Escocia, 1982) is an agronomist from the Pontificia Universidad Católica de Chile and holds a Master's degree in Environmental Protection and Management from the University of Edinburgh, Scotland. Her areas of interest are related to biodiversity conservation in arid and semi-arid zones. She is currently researching the ecophysiology of seeds in desert

Acknowledgments: National Doctoral Grant - CONICYT 21130176; Gloria Montenegro, Miguel Gómez and Luis González of the Plant Anatomy Laboratory, FAIF UC; Samuel Contreras of the Seed Laboratory FAIF UC.

environments. She participated in the conference "On Seeds and Multispecies Intra-Action: Disowning Life" at dOCUMENTA13 in Kassel, Germany.

Tomatillo del desierto / Desert Tomatillo (Solanum brachyantherum): 1-2 mm (length); Alto Patache Oasis de Niebla, Tarapacá Region. Seed with safranin and fast green staining. Sosa brava (Nolana sedifolia): 2-3 mm (length), 1-2 mm (width); Alto Patache Oasis de Niebla, Tarapacá Region. Detail of mericarp layers. Suspiro del Mar (Nolana paradoxa): 3-6 mm (length); Guanaqueros, Coquimbo Region. Mericarp without staining and detail of sclereids in a funicular germination plug. Hierba de la lombriz / Worm weed (Nolana crassulifolia), ø 2-3 mm; Los Molles, Valparaíso Region. Mericarp with safranin and fast green staining. Suspiro (Nolana jaffuelii): ø 1-3 mm; Alto Patache Oasis de Niebla, Tarapacá Region. Mericarp with safranin and fast green stain.


los límites de la tierra (the limits of the earth)

museum of contemporary art


SUSPENSIÓN/TRADUCCIÓN/AMPLIFICACIÓN (SUSPENSION/TRANSLATION/AMPLIFICATION) MAURICIO LACRAMPETTE [CL], SEBASTIÁN ARRIAGADA [CL], FELIPE CISTERNAS [CL] Camanchaca is the local name for the thick, coastal fog that is characteristic of northern Chile. When the stratocumulus cloud that forms in the Pacific Ocean hits the earth's surface, it creates this geographic entity that travels above and registers the landscape, sustaining multiple socioecological relationships. By means of instruments distributed around the desert, the Atacama UC Scientific Station in the Alto Patache Oasis de Niebla records the intensities and gradients of this cloud in one continuous pulse.

# landscape, climate, geography, camanchaca fog, site-specific artwork/land art, Atacama Desert Center Mauricio Lacrampette (Santiago, Chile, 1986) is an architect from the Catholic University of Chile. Since 2013 he has

Modernity insisted on separating the world into nature and culture, matter and mind, object and subject -among so many other limits-, conceiving the material world as an accumulation of inert bodies, deprived of a vitality only proper to the human mind. Exploring the landscape as a laboratory, the interdisciplinary collective KMNCHK ScanLab experiments with new forms of encounter and expression.

been working from a transdisciplinary perspective using methodologies, techniques and resources from architecture in combination with DIY technology and audiovisual media to modulate new encounters between objects, forces and post-natural entities

In the stillness of the desert, a laser device collects solar energy during the day. As the fog rises and the darkness grows, this energy is released at a point in the landscape. By casting a plane of light on the cloud, Suspensión/Traducción/ Amplificación reveals the tracks of the water particles in motion, which are photographically recorded in the pulse of scientific measurement.

that coexist in space. He has made site-specific works in different places and landscapes, asking questions related to light, space, matter, ecology and the state of nature. He currently works as a freelance artist, architect, and musician

The fog advances along the terrain’s bends and folds. The plane of laser light erects an immense and ephemeral wall in the desert in order to enter the cloud and experience that which flows beyond language and meaning: the movement of the world recorded on a flat plane.

in Santiago. Sebastián Arriagada (Temuco, Chile, 1985) is a film and documentary maker with a Master's degree in Documentary

Collaborators: Centro del Desierto de Atacama - Instituto de Geografía de la Pontificia Universidad Católica de Chile, Baldo Lacrampette, Benjamín Salgado, David Ramírez, Héctor García.

Film from the Universidad de Chile. He works in direction and editing for the production company Recmobil on television projects and web series. He is also a professor at the Universidad de Chile and the Arcos Institute. Felipe Cisternas (Santiago, Chile, 1991) is an anthropologist, audiovisual producer and member of the Visual Anthropology Laboratory of the Universidad Católica de Chile, a collaborative and interdisciplinary research-creation space. His work explores links between the arts, humanities and social sciences.


los límites de la tierra (the limits of the earth)

museum of contemporary art

Projection of 440 photographs on a 526 x 300 cm suspended canvas Intervened monitor displaying data taken at stations E850: 20,82635S, 70,14805W and E750: 20,8205S, 70,15325W of the Atacama Desert Center Set of 20 W solar panels connected to a 12V battery station (x2) in Pelican suitcase Hazer smoke machine 20 x 20 x 30 cm concrete base on which a 1500 MW laser module is supported, with an arm with irregular motion connected to a servomotor Raspberry Pi 4


los límites de la tierra (the limits of the earth)

museum of contemporary art



los límites de la tierra (the limits of the earth)

museum of contemporary art



CIEN ES UN COLOR (one hundred is a color)

SEPTEMBER 5, 2019 - NOVEMBER 10, 2019



«Cien es un color» explores abstraction as a language shared by the arts and mathematics. Through recent work and the papers of German-Chilean artist Cornelia Vargas, this show is aniother commemoration of the centennial anniversary of the Bauhaus, a center for plastic, technological and didactic experimentation that was part of the modernist movement that began at the end of the 19th century. As a fundamental vehicle for the expansion of a constructive utopia, the Bauhaus interwove artistic, scientific and technological knowledge with the daily practices of design and architecture to counteract the excess of irrationality that marked the social dynamics of those years.

We didn't think twice when we were asked to be part of the Biennial of Media Arts in 2019. A number of coincidences at that time encouraged us to not be left out of one of the most important exhibitions of the national cultural activity. The various cultural spaces in the Lastarria and Bellas Artes neighborhoods would host different exhibitions of the Biennial, which was a fantastic opportunity for a large majority of the public to have access to an exhibition of the highest quality.

One hundred years later, both in Chile and in the rest of the world, the threat of irrational excess and the apparent weaknesses of the democratic system persist, only under new forms. A surplus of garbage, the widespread circulation of false information, carbon dioxide saturation of the atmosphere, plastic waste in the oceans, individualism and consumption are constant challenges to collective living. In times of excess, remembering the Bauhausian heritage and tracing its tracks at the local level means observing the survival of projects guided by an ethics of economy of resources, the search for precision and understanding based on common languages, and the interdisciplinary orientation of collaborators. Following the explorations of the Ulm School during the 1950s on semiotics, algorithmic language, and data visualization, this exhibition is an account of the dialogue that Cornelia Vargas had with mathematician Alejandro Jofré, a member of the Center for Mathematical Modeling at the University of Chile. This dialogue is also projected towards the works of Fresia Gangas, Adriana Tureuna, Fresia Barría and the members of the Agrupación de Colchanderas del Itata, Ninhue and Quirihue in the Ñuble Region. These artisans cultivate subjects, forms and knowledge linked to other geometries. Their pieces were especially made for the exhibition and show the diversity of abstract logics. At the same time, they demonstrate the continuity of patterns and matrices that emerge from human creative processes. Thus, the exhibition is an invitation to thread the technologies of memory, materials, artistic creation and functional form with the thread of abstraction.

"Cien es un color" marks a convergence point of disciplines, techniques and people. That was the only way to do it for a space like the GAM situated on the Alameda as a place where all citizens can come together. "Let’s meet at the GAM," is a common refrain. Cornelia Vargas, Alejandro Jofré and Benoît Crespin flow like the Mapocho River that travels down from the mountains across our capital city. At other ends of the river, we find artisans Fresia Gangas, Adriana Tureuna and the Agrupación de Colchanderas del Itata, Ninhue and Quirihue. From the other side of the Andes to complete this colorful flow is Argentine artist Karina Peisajovich. The proposals of the artists and craftswomen connect to the origin of the building and the commemoration of the 100th anniversary of the Bauhaus school. However, the common axis that interconnected the works presented at the GAM and the entire biennial was the sculpture created by Carlos Ortúzar in 1972 called El cuarto mundo (The Fourth World), which was incubated within the same architectural complex that houses our cultural center. The work returns to its place of origin, giving the biennial as a whole a conceptual, emotional and social body that lets it move from apparent normality to the absolute transformation of our lives. Art, science and nature converged in the GAM to turn this building into a great editorial laboratory, placing it right in the heart of the interior and exterior to become an interface narrating the path of our history. The communion between the Biennial of Media Arts and the GAM then became not only a space that offers artistic content, but a context for the construction of new knowledge as well, inspired by this new fourth world.

“Cien es un color. Artesanías, artes y matemáticas a 100 años de la Bauhaus”, is supported by the Goethe Institut, the Centro de Modelamiento Matemático (CMM) at the Universidad de Chile, the Fundación Artesanías de Chile and Fundación Ca.Sa. We are grateful for the participation of Cornelia Vargas, Sofía Vargas, Amarí Peliowski, Alejandro Jofré and Benoît Crespin, Fresia Gangas, Adriana Tureuna, Fresia Barría and the Agrupación de Colchanderas del Itata, Ninhue y Quirihue, Región de Ñuble, Karina Peisajovich, Andrea Berger and Pilar Navarrete, and also Sebastián Gil M., Marcela Serra and Javiera Costas.


cien es un color (one hundred is a color)

gabriela mistral cultural center


DIALOGUES BETWEEN CRAFTS, ARTS AND MATHEMATICS ONE HUNDRED YEARS AFTER THE BAUHAUS CHRISTOPH BERTRAMS GOETHE-INSTITUT CHILE DIRECTOR 2019 marked the hundred-year anniversary of the founding of the Bauhaus in Weimar, a school of world-renowned influence in both practice and education in architecture, art, design and dance. As part of the commemoration of its jubilee, the curatorial team of the 14th Biennial of Media Arts of Santiago suggested highlighting the work of German-Chilean artist Cornelia Vargas who settled in Chile in 1960 after her training at the Ulm School. Given that her work focused especially on abstract geometric paintings and the use of color, the exhibition held at the GAM's visual arts hall in Santiago brought together a more ambitious project: deploying a series of operations associated with the artist's work under the concepts of matrix, pattern and color. An example of this was her work with Alejandro Jofré, a member of the Centro de Modelamiento Matemático who used media resources like programming and computer algorithms to integrate prime numbers into the artist's work. The concept of pattern and color was also a binding force in the participation of artisans from the towns of Quemchi, Llepo, Itata, Ninhue and Quirihue. Inspired by the work of Cornelia Vargas, they wove together a loom with geometric shapes. Lastly, Argentine artist Karina Peisajovic, whose work is part of the Ca.Sa Collection, presented an exercise in chromatic experimentation that randomly combined light and color. Outside the initial layout of the exhibition, but in association with it, the German choreographer and dancer Storm held a dance session outside the GAM with more than a hundred urban dancers. He chose 12 of them for a Gauging workshop, a form of urban dance that he created. It is derived from popping and inspired by mechanical ballet and the Bauhaus philosophy. This new choreography was presented at the exhibition hall, placing Cornelia Vargas’ work as center stage in tribute to her.


cien es un color (one hundred is a color)

gabriela mistral cultural center


ARTESANÍA INFILTRADA (INFILTRATED HANDICRAFTS) PILAR NAVARRETE DEPUTY DIRECTOR OF COMMUNICATIONS FOR ARTESANÍAS DE CHILE There Cornelia Vargas sat at the GAM coffeeshop, crystal-clear eyes shining. With her white hair, almost transparent skin, and quiet manner as well as her more than 84 years of age all appeared unsettlingly opposed to the color, youth and creative explosion of her paintings, her commitment to concrete art that intensified her passage through the Bauhaus. What would the handicrafts get up to in the midst of "Cien es un color", her exhibition that was opening the new edition of the Biennial of Media Arts at the GAM? Cornelia was born in Germany and arrived in Chile in the 1960s. At that time, she dedicated her time to social architecture in Valparaíso, together with her husband Eduardo Vargas. Almost ten years later, they worked on the planning of Villa Huaquén, which included the construction of a space that later housed an artisan cooperative project for the village. Years later in 1997, she recalls meeting one of the workshop participants in La Ligua, who told her about a fivemeter woven piece he was preparing for a client in Milan. The influence of this project was such that, although it was cut short in the 1970s, it continued to greatly reward those who had been a part of it. The biennial got in touch with Artesanías de Chile who were motivated by the essence of this edition; talking about the fourth world, that which sets its eyes on those who are outside the system, but who in that world apart create a more coherent and environmentally friendly one. In that world is where (would be?) handicrafts are situated. Those of us who have been part of this platform for almost 20 years and part of the Artesanías de Chile team for some time now have longed to conquer a space that would enable us to demonstrate that there is a wealth of knowledge -of know-how- in traditional crafts that would be desired by a scientist with a postgraduate degree or a renowned contemporary artist. How can an artisan like Fresia Gangas, a textile maker with silver hair and bright eyes like Cornelia's, at 75 years of age, create textiles of such perfect geometry, color and technique without having any formal notions of mathematics or composition or knowing how to read or write? Something lost in some dimension beyond our reach made these apparently very different worlds meet: that of Cornelia's concrete art celebrating the biennial, with the traditional, functional, apparently so simple, yet profoundly complex craftsmanship of a group of women who are part of the Fundación Artesanías de Chile network.

works in the basement level of the GAM. It was a meeting of two artists who do not know each other in person, but who seem so similar in their work. A wheatstraw woven piece of the colchanderas of Itata welcomed visitors to "Cien es un color" (One Hundred is a Color) with colorful circles. The cube woven by Betty and Adriana let visitors enter it and get carried away by the texture of the knots, a technique common to Chiloé textiles. So where is the intersection? Where is the interaction, the play? It lies in the fact that everything appears to be related as part of the same world. It could be the first, or it could be the fourth. Nobody really knows. What we do know is that the collaboration was positive. It served to stimulate the imagination of the craftswomen who participated, taking them out of their own worlds and extrapolating their technical ability with respect to the material and the form of construction itself, leading them to a space of exploration away from the functional purpose that usually defines handicrafts. This game of trust showed us that there is so much in common between traditional crafts, popular art and contemporary art, worlds that always seem to want to keep their distance. This joint work also allowed us to honor that burst of creativity and ingenuity that keeps the minds and hands of craftswomen like Fresia Gangas, a woman whose formal education was limited to a few years in a rural school, but was able to learn composition and mathematics without even realizing it, while making a living in the high mountain range of the Maule región.

Inspired by photographs of Cornelia's work, we sought out a group of artisans to see if they would be enthusiastic about creating a volume that would allow them to play with the techniques of their craft. Betty Barría and Adriana Tureuna, textile makers from Quemchi, Chiloé, and the colchanderas (weavers) of Itata, in the Ñuble region all said yes. Nobody knew what would come out of all this. But isn't that what creating a piece of art is all about? Fresia Gangas' chaño, which she spun, dyed and wove 40 years ago, was mounted close by Cornelia's


cien es un color (one hundred is a color)

gabriela mistral cultural center



Among the exhibits from Cornelia Vargas's archives there are photographs that show the life and work of the years she spent at the Ulm School. These are documents of a pedagogical system that sought to activate the principles of the comprehensive education of the Bauhaus, with the inclusion of some key changes. Ulm wished to connect with society and for this purpose integrated novelties from the social sciences, mainly sociology and the logics of communication.

# Eduardo Vargas, Max Bill, Ulm School, Bauhaus Centennial Cornelia Vargas (born Cornelia Koch in Lauenburg, 1933), studied at the Ulm school (Hochschule für Gestaltung), founded in 1953 and direct heir to the

The training was developed in a one-year preliminary course, which included plaster, wood and metal workshops complemented by coursework on theory. It then opened up to four specializations: information (this led to cinema), industrial design, visual communication, and architecture (exploring construction with prefabricated modular elements). Cornelia studied with Max Bill (1908-1994), the first rector of the HfG in Ulm and one of the leading figures of concrete art. She also met Chilean architect Eduardo Vargas (1933-1996), who became her husband and colleague during their time in Chile and Germany.

post-war Bauhaus movement. As a school of art, design and architecture, the Bauhaus sought to free expression from any subjective reference thus becoming a plastic composition using fundamental elements - shapes and colors - ordered according to the logic of precision. The visual work of Cornelia Vargas follows this same method: an experimentation with abstract matrices based on patterns formed by sequences of numbers or dynamics between geometric figures. Almost sixty years after her arrival in Chile, the artist continues to update the Bauhausian legacy as a permanent dialogue between perception and thought.

Photographs of the Ulm School building Author: Cornelia Vargas Photograph from 1956


cien es un color (one hundred is a color)

gabriela mistral cultural center


Photographs of the Ulm School building

Photographs of the Ulm School building

Author: Cornelia Vargas

Author: Cornelia Vargas

Photograph from 1956

Photograph from 1956


cien es un color (one hundred is a color)

gabriela mistral cultural center


Photography exercise by Cornelia Vargas in Wolfgang Siol's course, 1957.

Cornelia Vargas, spring 1958 Photograph: Eduardo Vargas


cien es un color (one hundred is a color)

gabriela mistral cultural center



Around the same time that the Bauhaus schools were being developed, a group of philosophers from the Experimental School of Psychology in Berlin, Germany coined the term Gestalt. Through this concept they sought to understand the mental capacity to recognize and name patterns from perception. Bauhaus artists, such as Paul Klee and Wassily Kandinsky, experimented extensively with the principles of Gestalt and formulated theories of drawing and color that became educational programs, put into practice around the world, and have remained operational today.

# drawing, color, Gestalt, Paul Klee, Wassily Kandinsky

The preliminary course at Ulm was composed of a series of modules directed by different professors dedicated to specific themes. In this selection we see pieces developed by Cornelia and Eduardo Vargas, a young Chilean architect who joined Ulm in 1957. The drawings correspond to exercises carried out during courses in geometry with Herman von Baravalle, color with Helene Nonne-Schmidt, who had been Paul Klee's assistant at the Bauhaus, visual methodology taught by Tomás Maldonado, and technical drawing by Hans Gugelot, among others.

Logarithmic spiral Baravalle Course, Cornelia Koch, November 15, 1955 431 x 385 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Watercolor Exercise by Eduardo Vargas, 1957 296 x 420 mm

Triple superimposition of adjacent complementary colors NonneSchmidt Course, Cornelia Koch, March 14, 1956. 412 x 601 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center



Cornelia works on her paintings creating preliminary sketches on various foundations, either gridded or plain sheets of notebook paper or looseleaf of any size. These sketches are kept in folders and serve as a catalogue of composition ideas. Only some of these ideas are transformed into paintings. To look at these drawings is to peek into the artist's studio, illuminated by the damp light of Valparaíso. The two-level space united by a staircase without handrails is functional and simple, organized around two large work tables and an endless number of wooden drawers where acrylic tubes, boxes with brushes of various qualities and sizes, sketches, photos and drawings are kept in precise order. A large cardboard box in the center organizes the architectural plans of the numerous projects that the Vargas couple did together. Cornelia worked in this space, assisted by her daughter Sofia and others, meticulously painting the works in this exhibition.

# sketches, magic squares, side notes, color combinations

Ejercicios de dibujo preparativos para cuadrados mágicos 2000 - 2019 Colección de la artista


cien es un color (one hundred is a color)

gabriela mistral cultural center


Ejercicios de dibujo preparativos para espirales 2000 - 2019 Colección de la artista Ejercicios de dibujo preparativos para espirales 2000 - 2019 Colección de la artista


cien es un color (one hundred is a color)

gabriela mistral cultural center



The meeting between Cornelia and Alejandro Jofré took place at the beginning of winter in the artist's studio and residence in Valparaíso. At that time, she was working on the Polygons series when the visiting mathematician recognized the utility this painting could acquire as a device for visualizing numerical phenomena. This led him to suggest that she work with prime numbers.

# prime numbers, Ulam spiral

This series consists of three paintings in which the prime numbers are represented in a double spiral according to the respective number of units marked on a grid. The spirals go in the same direction on the canvases where yellow and blue predominate. Those with red tones feature two spirals going in opposite directions. These works dialogue with the principle uncovered by Polish mathematician Stanisław Marcin Ulam (1909-1984). One day while he was playing around, he distributed natural numbers on a polyomimetic spiral. He marked prime numbers on this grid and watched as alternating diagonals of various lengths emerged. Ulam's spiral thus became a method of graphically representing the prime numbers, although the pattern is considered unsolved. Cornelia did this second series in dialogue with Alejandro Jofré and Sofía Vargas.

Double spiral of prime numbers I (2019) Acrylic on canvas 800 x 800 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Double spiral of prime numbers II (2019)

Double spiral of prime numbers III (2019)

Acrylic on canvas

Acrylic on canvas

800 x 800 mm

800 x 800 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Unexpected order of prime numbers 4751 (2019)

Unexpected order of prime numbers 41 (2019)

Acrylic on canvas

Acrylic on canvas

1000 x 1000 mm

1000 x 1000 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center



The magic square is the arrangement of whole natural numbers in a grid in which the sums of the rows, columns and main diagonals coincide in keeping with certain distribution logics.

# magic square, integers

Diagonal, 2019 Pairs, 2017 Centered order, 2017 System 1 horizontal, System 2 vertical, 2018 Reflected, 2019 In 3 columns, 2019 Compact: scattered, 2019 Radiation and limitation, 2019 Complementary, 2017 2 systems connected at the corners, 2017

Compact: dispersed (2019) Acrylic on canvas 600 x 600 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Diagonal (2019)

Radiation and limitation (2019)

Acrylic on canvas

Acrylic on canvas

600 x 600 mm

600 x 600 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center



Cornelia explored the characteristics and possible interactions of a figure composed of six triangles, forming polygons, as part of the exercises of subdividing a surface by means of geometric shapes. Thinking about the commemoration of the Bauhaus centennial and in dialogue with the handicraft works that are part of this exhibition, the artist tried new combinations with this same shape, but this time integrating the gestures of rotation and superimposition that are inherent to textile arts.

# polygons, variations, overlapping, tessellation, textile art

With this series, Cornelia deepens the notion of variations following the definitions of concrete art enunciated by Max Bill. Understanding that an abstract motif encompasses more than one solution, the variations of a single motif (in this case, the fitting and rotation of polygons) make it possible to account for the breadth of that theme. These compositional operations refer to a concept known in mathematics as tessellation; an arrangement of patterns arranged contiguously, like the tiles on a floor or the knots on a loom.

Teselado de polígonos IV (2019) (Polygon tessellation) Acrylic on canvas 1000 x 1000 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Teselado de polígonos I (2019) (Polygon tessellation I)

Teselado de polígonos II (2019) (Polygon tessellation II)

Acrylic on canvas

Acrylic on canvas

1000 x 1000 mm

1000 x 1000 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center



This series brings together works made between 2017 and 2019 and accounts for the continuity of the mathematical visualization exercises that Cornelia began developing in her Ulm years. The golden triangles were presented as the possibility of showing abstract systems that tend to disappear due to the effects of their constant variation.

# golden triangles, concrete experiments

Some of these pieces and other similar versions were exhibited in previous exhibitions, such as "Experimentos concretos" (“Concrete experiments,” Parque Cultural de Valparaíso, 2014), 12 Biennial of Media Arts: "Hablar en lenguas" (“Speaking in tongues,” MNBA, 2015) and "La revolución de las formas" (“The form revolution,” CCLM, 2017).

Espiral alternando dos colores (2017) (Spiral alternating two colors) Acrylic on canvas 1200 x 1200 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center


Tres triples de Pitágoras (2018) (Three triples of Pythagoras) Acrylic on canvas 600 x 600 mm

Relámpago II (2017), (Lightning II) Acrylic on canvas 1200 x 800 mm


cien es un color (one hundred is a color)

gabriela mistral cultural center



Mathematical visualization is the process of replacing an abstract phenomenon by its image. Expansion and contraction, multiplication and reduction, displacement and stationary position, are some of the notions that can be translated through diagrams. While Cornelia's works explore the plastic possibilities of modeling through variations on a single theme, the digital designs of Benoît Crespin, a French computer scientist in residence at MWC, seek to simulate fluid dynamics by introducing a range of possible movements in random sequence into a grid.

# particles, grid, fluid dynamics Benoît Crespin is a lecturer and researcher in Computer Science at the University of Limoges (France) and at the XLIM laboratory (UMR CNRS 7252). His areas of expertise are simulation of natural phenomena and 3D visualization

In this simulation, the particles represent the minimum unit of a fluid matter. The initial position of each particle is random and the motion, programmed by a sequence of vectors and rotations, responds to real dynamics of the simulation. The visualization alternates with a representation of the grid containing the particles.

and programming with graphics processing units (GPU). He was a visiting professor at the Center for Mathematical Modeling, Universidad de Chile (CMM), from September 2018 to December 2019.

The video is a looped clip that records eleven variations of particle movement with gravity transfer to the four corners of the screen, to the center and random variations. Added to this alternation is the episode of a falling drop. [partículas] (2019) Video, 7'26'' Programmed in Open Processing


cien es un color (one hundred is a color)

gabriela mistral cultural center



The chaño is a quadrangular textile object with four selvedged edges without fringe with a striped design combined with floating and working threads (ñimin) in intense and contrasting colors. This piece is used in the mountains of the Maule region as part of the animal herder’s gear. The chaño is placed under the saddle and has different functions such as cushioning the ride and serving as a coat during the journey if necessary.

# chaño, maule, herder Fresia Gangas (1948) grew up in the mountain range in the Linares area, where she learned from a young age to weave garments for coats and use by animal herders. In her youth, she herself did the entire process from the breeding and shearing of the animals, to the spinning, dyeing and weaving of the pieces. Today, she is one of the few proponents keeping alive the textile tradition in the Maule Region of Chile.

Chaño Rombos (1980) (Rhombus Chaño) Double face weaving on double loom. Hand-twisted acrylic wool. 145 x 120 cm, 0.8 cm thick. Location: Llepo, Linares, Maule Region.


cien es un color (one hundred is a color)

gabriela mistral cultural center


ETERNO ARCOIRIS I Y II (ETERNAL RAINBOW I AND II) ADRIANA TUREUNA [CL] FRESIA BARRÍA [CL] The Chiloé archipelago is renowned for an abundance of sheep wool textiles. In fact, in local homes it is common to find blankets and garments that reflect a tradition that emerges from the fusion of Mapuche-Huilliche textile technologies and foreign influences.

# handicrafts, intuitive mathematics, kelgwo, wool, loom Adriana Tureuna was born in Quemchi,

Chiloé women, the main artisan weavers, still use the kelgwo or horizontal loom to weave pieces for everyday use in Chiloé homes. Learning textile making begins at an early age and starts with shearing, selecting and cleaning the fleece. Next come spinning, dyeing, warping and weaving. In Chiloé textile weaving, the main stitches are sabanilla, plain or flat, brocade, three weft, three reed, straight stitch and reverse stitch.

Chiloé where she lives to this day. She learned the craft of weaving in kelgwo - horizontal weaving in Chiloé - from her mother, her grandmother and her neighbors, which allowed her to learn various techniques and master loom weaving and to teach this craft to the Chiloé community. Fresia Barría learned to knit from her grandmother at the age of nine using knitting needles her grandfather made for her from fence wires. Fresia learned kelgwo weaving later on. However, her creations highlights are the whales she weaves or knits.

Eterno Arcoiris I y II (2019) (Eternal Rainbow I and II) Weaving of different stitches in kelgwo, Chiloé horizontal loom. Fleece and hand spun sheep wool. 1.5 mt approx.


cien es un color (one hundred is a color)

gabriela mistral cultural center



In the Itata Valley, women have been making 'cuelchas' for more than two centuries. These are braids made from wheat straw, with which the chupalleros or hat-weavers make the classic chupallas de huaso, or Chilean cowboy hats. The women of Itata are in a process of experimentation looking for new ways to use the cuelcha. From there this piece emerges that dialogues with the works of Cornelia Vargas.

# handicraft, intuitive mathematics, cuelchas, wheat La Agrupación de Colchanderas del Itata, Ninhue and Quirihue, Ñuble Region, formed in 2018, is composed of 15 women, some of whom have been weaving for over 50 or 60 years. The craft of quilting, the weaving of the strands of wheat straw, is learned by the women of the community at the age of seven. Rosa Ester Dominguez Sanhueza, Zoila Hundina Montecino Arriagada, Cecilia Jimena Urrutia Vera, Minerva Elena Romero Arriagada, Susana Magaly Vera Bustos, Maria Angélica Ponce Barrera, Marcela Ester Parra Dominguez, Araceli Beatriz Vergara Sandoval, Maria Julia Arriagada Montecinos, Maria Olivia Brito Rojas, Paula Del Carmen Caro Vergara, Rosa Edita Vera Chandia, Sara Villanueva Andrades, Pabla Teresa Palma Andrades.

Four-strand wheat straw braiding and crochet weaving (2019). 1.7 meters in diameter.


cien es un color (one hundred is a color)

gabriela mistral cultural center


MÁQUINA DE HACER COLOR (SUITE PARA CINCO MOVIMIENTOS) (COLOR-MAKING MACHINE (SUITE IN FIVE MOVEMENTS)) KARINA PEISAJOVICH [ARG] Máquina de hacer color (suite para cinco movimientos) projects five circular beams of colored light that intersect on the wall. The colors vary as they move and overlap like a giant mutant chromatic circle to reveal the conditions of possibility of the visible.

# luz, color, superposición, tecnología analógica Karina Peisajovich (1966) is an artist

As a consequence, resulting from the loss of synchronization of the analog engines, the light-color machines project unexpected and random configurations responding to the coherence of the chromatic circle of RGBcolored light (the colors are mixed additively).

trained at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón in Buenos Aires and at the workshop of Ahuva Szlimowicz. The construction of visuality, the fragility of images and the temporality

The analogical technology that activates this illusion recalls the Bauhaus exercises of László Moholy-Nagy who used machines in motion, lights, patterns and color filters to composed pieces that appealed to the perceptive capacity of the observer. The art piece thus acquires the condition of a scientific instrument and allows the analysis of the gestalt dimension of the senses, provoking exploration and perceptual expansion.

of the perceptive act are constant themes in her work. Her works are ephemeral artifacts used to think about time in its circularity.

Máquina de hacer color (suite para cinco movimientos) (2009) (Color-making Machine, Suite in Five Movements (2009)) Five lighting devices with a motor and colored disks 5x8x4m Ca.Sa. Foundation Collection.


cien es un color (one hundred is a color)

gabriela mistral cultural center



MUNDO SITUADO (situated world)

NOVEMBER 12, 2019 - JANUARY 5, 2020



The need to situate the world from a radical perspective based on a horizontal rationale where all life forms coexist in balance is perhaps the only way to halt our annihilation as a species. Understanding the core languages that structure a potential harmonious inter-species relationship, combining cultural, political and economic management in a balanced manner is perhaps the first step toward shifting from an insistence upon unlimited progress that is founded on greed and ambition toward a collective adjustment determined by the wisdom of the common good.

The Embassy of Denmark has strengthened its relationship with the Biennial of Media Arts, creating a space for exchange that has been marked by the distant placement of both territories and the similarities of their contexts. Both countries have a relationship with socio-natural disasters. Denmark in the north experiences the thawing of the poles and a relentless winter climate. Chile in the south has an impactful tectonic condition and extremes of geo and biodiversity. This connection with the intensity of nature unites our two communities. We relate to nature in particular ways and this tacit exchange has become a fundamental necessity. Art is constituted as a structural force to understand the essence of our communities. It enables a symbolic dialogue, a language where sounds, still and moving images reflect other forms of relationship, the option to join forces through our differences.

“Mundo situado” takes its inspiration from the concept of situated knowledge as proposed by Donna Haraway in which the object of study is made evident by the place where it emerges and is marked by the context and subjectivity of the person analyzing it, regardless of the research method employed. This exhibition proposes the world as knowledge, evoking the start and finish of a symbolic era of radical transition in a context where the obsolete understanding of our relationship with the Earth is no longer viable. The subjectivity of the pieces confronts us with the fear of our own annihilation in which a radical transformation of our lifestyles, breaking through and overcoming the hegemonic understanding of the world are provocations contained in the story. They are situated in the transition of two opposing worlds. The first is the one that refuses to die and is marked by legal, conceptual and economic ties that keep the Earth in decay. The other is contained within a mass that is experiencing ongoing friction while waiting not only to reveal itself, but to build its own way of creating a relationship with the world.

The participation of Danish artists in the "Mundo situado" exhibition demonstrated this connection between the essences of the two countries. A new chapter of a living and evolving dialogue has been constructed in which the Biennial of Media Arts of Santiago has served as the scenario not only for exhibiting works by Danish artists in Chile, but also creating a symbiosis between Chile and Denmark that has grown increasingly robust over time. The Danish Agency for Culture has financially supported the inclusion of Danish artists in the Biennial and the artistic exchange that this entails. The Danish Embassy in Chile and the Agency for Culture both hold the Biennial in high regard. Cooperation in terms of execution and at the interpersonal level has been very satisfying for everyone.

This energy in friction crosses the membrane of history, inherently situating itself in a transitional space between uncertainty and the certainty of an end. Culture and technology coalesce in each piece to integrate a field of exploration into dimensions undergoing constant destruction and regeneration, constituting a protest against our current condition as a plague that mercilessly annihilates its environment. «Mundo situado» questions the justification of the means to achieve objectives that are placed along a corrupt ethical boundary, where techno-scientific development for commercial purposes fulfills a perverse function with irreversible consequences. The exhibition is then a lens with which to observe this altered reality questioning the hegemony of time and science as a social construct and configured by an expanding ecology that begins with the ruins of a decaying system and projects improbable fields of understanding and possible radical recompositions of reality.


mundo situado (situated world)

visual arts museum



Hand-painted drawings on canvas and loose sheets of paper on the table display pages from Textos para el Kinder planetario. Visitors can compose their own books and keep spreading the message that Sergio Larraín transmitted throughout the years he spent surrounded by nature.

# present, consciousness, reality, attention, rhythm Sergio Larrain (Santiago, 1931 ​- Ovalle,

Textos para el Kinder planetario is a series of books edited and distributed by the artist himself while he lived in Tulahuén in Ovalle, Chile. Handwritten and typed sheets are mixed with photographs and photocopied drawings to share the convictions that shaped the photographer's final years as he lived a simple life in contact with nature cultivating spirit through meditation.

2012) was a renowned Chilean photographer. At the age of eighteen he traveled to the United States to study forestry engineering in Berkeley, California. He quickly became attracted to photography, so he moved to Michigan,

The texts are part of a credo with which Larraín aimed to guide anyone interested in these principles. The artist chose this name to call for an expansion of the state of continuous learning experienced during childhood. His beliefs were shared during sessions of "planetary kindergarten artisanal yoga", which he practiced with his students at the Casa de la Cultura in Ovalle. Additional physical, perceptual and spiritual exercises were used such as painting, writing and photography as simple methods for achieving satori by cultivating ways to capture ephemeral states of grace.

where he began his training. He returned to Chile in 1951, held his first exhibition in Santiago in 1953 and, together with the American artist Sheila A.W. Hicks, exhibited in this same museum in 1958. In 1959, at the invitation of the French photographer Henri CartierBresson, he joined the Magnum agency. This association of photojournalists is one of the most influential circles of artists in the history of photography worldwide. He

Kinder planetario (Planetary Kindergarten) A series of twelve books, self-published by the author and printed and bound by Ediciones Lom.

made photo-reportage trips to Europe and the Middle East, with Valparaíso as his point of departure and return.

(Self-programming (control), undated Reconciliation (control), undated Higher exercises, undated [On the point], undated Reality (control), 1985 The Kingdom, 1987 The Apple Tree, 1990 During the day, 1991 Reality (control), 2007 Sailboat, 2010 Here and Now (control), 2010 The established light, 2012


mundo situado (situated world)

visual arts museum



Liquid Relations, listening back in time is a sculpture composed of elements from different times, origins and intentions that aims to focus on the memory of the earth and the human condition using diagrammatic compositions. The work takes lithium as its core aspect, transversely connects different scales according to the ways the mineral exists and gets used. Geologically, lithium is one of the elements that was formed from the Big Bang 13.7 billion years ago along with hydrogen and helium. Geographically, the Argentine, Bolivian and Chilean Andes are home to the largest lithium deposits in the world. Anthropologically, these same lands have a sacred character and serve as the foundation for the livelihood of peoples such as the Aymara and Quechua who have been living there since well before the Spanish arrived on the continent. Recent lithium deposits are being exploited for produce the technologies of the so-called "digital revolution". Lithium is also used to treat severe depression disorders. Its lack or excess in the human body is one key to emotional stability.

# lithium, scales, sculpture, materials Mille Kalsmose (1972) holds a Master's degree in Contemporary Art and Aesthetics from the Autonomous University of Barcelona. She currently works in Copenhagen and New York, exploring the intersection of art, science and technology. Her projects are based on intuitive sensations, while her scientific research is done in collaboration with astronomers, neuroscientists, archaeologists and psychologists. She creates sculptural works based on her

This work is thus configured as a metaphorical mechanism for visualizing scales that oscillate between balance and entropy. It is a device for observing deep time through the liquid connection between science, territory, history, industry, and perception. In doing so, it reveals the connections between the geological, cosmological, economic, and biochemical natures of a matter that are central to our relationships.

own experience where tactile aspects hold essential meaning. She combines materials with opposing qualities, such as brass and paper or iron and silk, creating a structural and visceral tension that reflects our vulnerable experience in the world and captures the precariousness of

Sculpture as a palimpsestic body brings together these scales of lithium existence alongside the urban ruins of the social uprising in Santiago. Records and remains are linked as products of an interconnected community that has exploited the containment of several decades of social injustice, triggering the suspension of collective logic, ritualizing the city's inhabitation, and provoking the configuration of a temporary autonomous zone (Hakim Bey, 1991), connecting with the hidden substance of our collective unconscious.

our daily existence.

Collaborator: Sophie Holme

Sculpture of variable dimensions Single-channel sound Stones Found objects (iron, lithium salts, resin, urban debris and metal fragments melted in barricades, etc.)


mundo situado (situated world)

visual arts museum


mundo situado (situated world)

visual arts museum



A journey through natural, mental and poetic landscapes is the culmination of the visual and material research that the artist has done with lithium as part of a long-term project on the relationship between humans and the mineral world. These images narrate a day in the life of a woman who wanders dazed under the sun through the Uyuni salt flat, one of the world's main lithium reserves. A voice recites "Testimonio de circunstancias" (Testimony of Circumstances), a work by the Chilean poet Rodrigo Lira that realistically and intensely details the transitions between the states of euphoria and depression felt by those diagnosed as bipolar.

# lithium, Uyuni Salt Flat, white oil, bipolar depression, Rodrigo Lira Alejandra Prieto (Santiago, 1980) holds a degree in Arts from the Pontificia Universidad Católica de Chile and a Masters in Visual Arts from the Universidad de Chile. Her work has focused on the production of objects

Lithium is a chemical element that was recognized at the beginning of the 20th century as a key input for developing industrial technology based on electricity. This “white oil” was heralded as a promise of prosperity for Argentina, Chile and Bolivia, countries that possess large deposits of this mineral.

and audiovisual images. Her recent work addresses various dimensions of mineral nature, from geological and economic dynamics to its biochemical presence inside the human body.

Lithium, or stone in Latin, is also gets turned into a pharmaceutical drug prescribed as a mood stabilizer for people suffering from bipolar depression. Rodrigo Lira, the poet of madness, subverts the logic of mental health, and the dialogue between his words and the dreamlike and documentary images of Alejandra Prieto presents an urgent reflection on human nature and sanity. Collaborators: Sebastián Salfate, Enrique Stindt, María José Burgos, Catalina Marín, Nicolás Grum, Natalia Geisse, Francisca Rojo, Isabel Torres, Claudio Vargas, Rodrigo Araya, Gracia Fernández, Pamela Canales, Alba Gaviraghi.


mundo situado (situated world)

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Solo tendrás piedras (2018) (You will only have stones) Video HD 9’


mundo situado (situated world)

visual arts museum



Horny Vacuum and Cøsmic Strike emerged from the artist's residency at CERN, a laboratory of the European Organization for Nuclear Research in Geneva, Switzerland. It was there that she obtained access to research on the neutrino, the subatomic particle, also known as a ghost particle for its ability to pass through solid bodies. With a mass 100,000 times smaller than that of the electron, the neutrino was a scientific hypothesis until the early 20th century, when its mass was only detected through telescopic neutrino horns specially designed for this measurement. These tiny particles pass unhindered through any body they encounter, including humans, and rarely interact with other kinds of physical matter. In her observations, Lea Porsager found in the neutrino a perceptual bridge between Western and Eastern knowledge practices. Her work seeks to compose a possible narrative to reframe this connection.

# CERN, neutrinos, left-handed, ghost particle, tantra Lea Porsager (1981) was trained at the Royal Danish Academy of Fine Arts and the Städelschule in Frankfurt am Main, Germany. She complemented her studies at the Malmö Art Academy in Malmö and at the University of Lund. The artist's practice interweaves fables and speculation with a variety of media including film, sculpture, photography, and

Horny Vacuum is a tantric experiment where the vibration of the Ra Ma Da Sa Sa Say So Hung mantra cuts through space-time to access the void, through the deep concentration of meditation. The installation is completed with four sculptural volumes inspired by the internal drivers of what are called neutrino horns (telescopic horns): Horn- Den Frie. The 3D visual animation depicts the interior of the instrument, emulating the neutrino's point of view. This is complemented by sounds from a gong that emits vibrations to the viewer's body. The animation is designed to be experienced with cyan red 3D glasses. Since human senses are too limited to perceive neutrinos, Porsager added an additional lens, a third eye, to augment the 3D lenses.

texture. Her works encompass science, politics, feminism and the esoteric. Collaborators: Collide International Award, a partnership program between Arts at CERN and FACT, and was co-produced by ScANNER, The Danish Arts Foundation and New Carlsberg Foundation.

Cøsmic Strike is an immersive 3D animation inspired by Kundalini Kriya done by the artist in one of the empty offices of CERN. The images are accompanied by the sound of the Isht Sodhana Mantra Kriya mantra and a neutrino horn made of pieces found in the cellars of this scientific center, which the artist renamed Sushumna Nadi Avatar. The work reflects an overlap of measurement science and perceptual practices, eliciting the confluence between quantum and metaphysical instruments to access dimensions of the world that remain veiled. The neutrino horn becomes a ghostly container of oscillations, vibrations, and irritations, manifesting a collision of different technologies. Horny Vacuum and Cøsmic Strike subtly stress the hegemony of the physical sciences to understand the neutrino. Faced with this omnipresent and almost imperceptible particle, the artist proposes a bodily experience that transforms our way of seeing, accessing a different form of sensory perception. Art thus expands its conventional function of representing the tangible world by undertaking the mission of approaching almost abstract phenomena of nature through a ritual connection between bodies and objects.


mundo situado (situated world)

visual arts museum


Cøsmic Strike Video 3D, 62’, anaglyphs, 3D third eye glasses


mundo situado (situated world)

visual arts museum


Horny Vacuum 3D video, 31', 2.1 audio, anaglyphs, third eye 3D glasses Horn - Den Frie Four stainless steel parts


mundo situado (situated world)

visual arts museum


MISS UNIVERSAL DESTINY ESCENAS DE CAZA (HUNTING SCENES) JUAN PABLO LANGLOIS VICUÑA [CL] Bodies dehumanized by exploited lands evoke our own bodies that are rehumanized in this work through a counter-monument, an ephemeral totem. These papier-mâché sculptures condemn the genocide of the peoples of Tierra del Fuego and raise a plea against the science that objectifies the human being. They are also a repositioning of lifestyles that are radically opposed to developmentalism. The technologies of ritual, the radical adaptation of the body to an adverse environment, the enigma of a practical and transcendental continuity between humans and nature were eradicated out of fear. They are now coming back as a story on paper. How many times will we have to tell this same story?

# paper, bodies, selk'nam, mummy, colonization Juan Pablo Langlois Vicuña (1936 - 2019) studied architecture at the Universidad Católica de Valparaíso and art at the Universidad Arcis. His works mix materials and processes from popular culture and waste from contemporary daily life that the artist relates to ideas

Both grotesque and brutal, Miss Universal Destiny exposes the objectification of the female body and the colonialist pattern of Western beauty, generating a clash of images that reveals the dynamics of imposition and extermination among humans. A replica of a mummy preserved in the Father Le Paige Museum, colloquially called Miss Chile, is contrasted with masks of bodies adapted to that imposed beauty standard, demonstrating that the universal destiny of all these bodies is the same. What ritual orders does a mummified body sustain? What does putting them in a museum disturb?

about the permanence of the work of art and objects, the rejection of industry, the theme of personal identity and American peoples.

Escenas de caza suggests another clash of images: trivial memories of tourism are combined with the records of the Selk'nam genocide, referring to the practice of human zoos. Sculptures of two women and marine mammals wounded by hunting weapons project into space the brutality of the photographs showing Julio Popper shooting the inhabitants of Tierra del Fuego. What material can be used to build a memorial for these bodies? These works were initially exhibited at the Museo Nacional de Bellas Artes in 1997 and are now part of the MAVI collection.


mundo situado (situated world)

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Escenas de caza (1996) (Hunting Scenes) Installation: five printed digital photographs, one pencil drawing on paper, four digital prints on paper and fifty papier-mâché figures.


mundo situado (situated world)

visual arts museum


Miss Universal Destiny (1997) Installation: four papier-mâché figures, newspaper, plastic, plasticine, acrylic paint, pastel paint. Ten aluminum hooks.


mundo situado (situated world)

visual arts museum



Inspired by the alchemical homunculus of Paracelsus (1493-1541), who in search of the philosopher's stone expanded the possibilities of life by creating an eternal being. Uffe Isolotto conceived an entity to inhabit the virtual world. After ingesting Echinopsis pachanoi, a cactus commonly known as San Pedro, the artist created a piece that replicates the expansion of consciousness, generating a double or stand-in. This virtual homunculus explores different states of alteration and expansion of the senses and the perceived world.

# Echinopsis pachanoi, motion capture, homunculus, transmutation, alchemy technoshamanism. Uffe Isolotto (1976) trained at the Royal Danish Academy of Fine Arts and is cofounder of TOVES and Age of Aquarius,

With this video installation, the artist connects the Indo-European alchemical imaginary with the ancestral knowledge of the Andean world, recalling a human consciousness in a state of temporal, spatial and material expansion. The virtual homunculus created by Isolotto enhances this expansion by imbibing an algorithmic San Pedro cactus. The work seeks to recompose both experiences of alteration of perception to suggest openly sharing codes and relaxing our social relationship forms. It is an attempt to reinsert a tribal culture in the territory of the virtual, dominated by the entertainment market and war games. The exploration of this numerical space evokes the physicochemical alterations that take place in our brain during a psychoactive trip, summoning hidden forces of hybridization of analog and virtual, ritual and material worlds.

two exhibition platforms. He currently lives and works in Copenhagen, Denmark. The artist works with sculptural entities with various foundations, merging analog and digital forms through which he responds to identity and cultural questions.

The Drift is inspired by the terminology used by three-dimensional motion capture technology and the visual distortion produced by an altered reading of the sensors. In his drift, Isolotto uses error as a conceptual matrix, exploring the possible flaws of the system or, in this case, as possibilities for aesthetic and conceptual expansion. The virtual journey is offered as a space to filter, through digital cracks, a hybrid experience where spirituality and technology find common ground.


mundo situado (situated world)

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The Drift Full HD video, 40’


mundo situado (situated world)

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Archivo Tamarugal reflects on the industry and, specifically, on mining and the fishing of large cetaceans or aquatic mammals, bringing forth ideas of change in the natural and economic landscapes of the country. The exhibition integrates photographs, video, drawings and paintings in an extensive installation of the research process summed up in a material and digital archive.

# geopolitics, extraction, mining, industrial fishing, archive Rosell Meseguer (Orihuela, Alicante, España, 1976) is a visual artist,

Between 2005 and 2014, the artist traveled through the Norte Grande area of Chile, Argentina, Bolivia, Peru, Cartagena and mining areas of Andalusia in southeastern Spain. During those years she made a series of audiovisual recordings and photographs, thus building an archive of materials related to the problems of the mining industry. She took the saltpeter mining industry of the nineteenth century as a starting point, working her way up to today’s mining operations.

researcher and PhD in Fine Arts at the Complutense University of Madrid. Since 2005 her work has been focused on Europe and Latin America, where she has collaborated with museums, art galleries and workshops connected to various universities on the continent. Her work involves a range of media, such

In this transatlantic dialogue, the artist began with her own experience. At the age of seven, she went into to the Portman mine that had been exploited by the Carthaginians, Phoenicians and Romans. This is the thread connecting the mining history of the southern Iberian Peninsula including Murcia, Cartagena, Almeria, and Huelva to South American mining in Chile, Argentina, Bolivia and Peru. The artist concludes that the control of all these mining companies, both in the south of Spain and on the Pacific coast during the 19th century was mainly done by the British and that exploitation models are repeated in both regions.

as photography, painting, installations, archival work, publications, drawings and videos. Rosell has also spent nearly two decades analyzing how history is constructed and how documentation methodologies are developed through a series of studies carried out at MoMA, New York, Tate Britain, London, Centre Georges Pompidou, Paris, Cannoball,



Miami and the National Library of Spain.

mundo situado (situated world)

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mundo situado (situated world)

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Sewell Industrial Project: Tránsitos. Del Mediterráneo al Pacífico, 2007. (From the Mediterranean to the Pacific) Pictorial ink printing from a Dibond slide 100 x 150 cm Hospital Sewell Project: Tránsitos. Del Mediterráneo al Pacífico, 2007. (From the Mediterranean to the Pacific) Pictorial ink printing from a Dibond slide 100 x 150 cm Quintay Project: Tránsitos. Del Mediterráneo al Pacífico, 2007. (From the Mediterranean to the Pacific) Pictorial ink printing from a Dibond slide 135 x 400 cm diptych Spanish Cultural Center Collection, Santiago de Chile Archivo procesual (Process archive) Research materials and documents of the Tamarugal project, 2005 - 2019. Diverse techniques Centro de arte Dos de Mayo Art Center Collection, CA2M, Madrid Ojo (Eye) Project: Tránsitos. Del Mediterráneo al Pacífico, 2007. (From the Mediterranean to the Pacific) Pictorial ink printing from a Dibond slide 40 x 50 cm Spanish Cultural Center Collection, Santiago de Chile Libro Tamarugal (Tamarugal book) Tamarugal Archive Project, 2013 Video, 5'08" Centro de arte Dos de Mayo Art Center Collection, CA2M, Madrid Herbario de plantas mineras (Herbarium of mining plants) Project: Tránsitos. Del Mediterráneo al Pacífico, 2007. (From the Mediterranean to the Pacific) Eleven cyanotypes on cotton paper; analog photography 70 x 100 cm each Collection and exhibitions Cerezales del Condado Museum, León, Spain, and private collections SLHS Tamarugal Video of the project Tránsitos. Del Mediterráneo al Pacífico, 2005 - 2013. (From the Mediterranean to the Pacific) Video, 16’36


mundo situado (situated world)

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NOVEMBER 23, 2019 - JANUARY 26, 2020

SEMICONDUCTOR MONICA BELLO GUEST CURATOR Nature is dynamic as it flows through the different scales of matter in diverse spaces and times with a continuous and active rhythm. Science tells us that at discrete levels everything has an unusual behavior that is derived from nearly implausible states with a sense beyond all intuition. Over the years, experimental and scientific practices have offered us a new way of observing the world. Thus, beyond the visible, new ways of looking have been uncovered that employ instruments of unprecedented complexity and precision. Within this framework, cultural patterns have changed course, giving rise to expressions that examine new models of understanding our universe.


Mónica Bello is a Spanish curator and art historian. For the past 15 years she has been focused on multidisciplinary perspectives and narratives of today's technoscientific culture. In her research and curatorial projects, she analyzes how artists spark new conversations about emerging phenomena in our society and culture, such as the role of science and new knowledge in the perception of reality.

Scientific research is central to the work of Semiconductor. Over the course of an artistic career spanning more than twenty years, the duo of Ruth Jarman and Joe Gerhardt (Brighton, UK) have made a detailed tour of some of today's most fascinating natural phenomena and scientific facts. In their work, they have realized that to understand the fundamental aspects of nature we have to go beyond everyday experience to scales surprisingly distant from the human one. To this end, they have approached natural phenomena and mechanisms for perceiving them using an artistic methodology that applies a series of exploration techniques and ways of constructing diverse knowledge. Designed as installations and videos, these works allow us to reflect on the ways of doing science. They also bring us closer to the data that make up the scientific imaginary of our contemporary world. The fact that nature is understood and defined through the lenses of science and technology serves as a constant supply of resources for their creations.

She is currently curator and head of art at CERN at the European Organization for Nuclear Research in Geneva, where she oversees research-based artist residencies, and new art commissions

Between October 2019 and January 2020, the Biennial of Media Arts took place in different venues in Santiago. The context in which the Biennial was planned was quite different from the period when it was actually inaugurated and executed. Due to the social outburst that rocked the entire country on October 18th, especially the Capital, it was not possible to carry out the events and activities that were planned to fill up various spaces in Santiago with art and interventions. One such activity was the work of the British artistic duo Semiconductor that was exploring environmental and scientific issues within the framework of COP25 that was set to permeate the Centro Nacional de Arte Contemporáneo (National Center for Contemporary Art). Semiconductor is work created by the duo of Ruth Jarman and Joe Gerhardt known for making installations that bring art, technology and science together in conversation to shape spatial experiences that explore aspects of the nature that surrounds us, but is surprisingly intangible to most. Through their art they reveal facets of the natural world that are invisible to many.

reflecting conversations and interactions between artists and particle physicists. Bello was recently appointed guest curator of the prestigious Audemars Piguet Art Commission for Art Basel 2018, which supports artists in the creation of new works of art that are exceptionally complex and precise. Prior to her arrival in Geneva,

The aim of the British Council is to create links between the United Kingdom and the world through cultural exchange in order to depict what unites us, to develop trust, and collaborate creatively, discover and build new ways of working together so we can learn from each other. This was not the first time the British Council crossed paths with the work of Semiconductor, given that in a sense they are seeking the same thing; to get to know more about the world in which we live in order to understand each other better.

she held the position of artistic director

This exhibition is conceived as a journey along the trajectory of a group of artists who have pioneered a dialogue between art and science. Based on a humanistic foundation and a deep knowledge of the phenomena of nature, the duo depicts a world configured according to the scientific canon. By embracing the methodologies and techniques of this field, they reproduce unusual forms of experimentation, dictated by the data and images collected through satellites, probes or particle detectors, which are then processed and condensed into a series of concrete topologies. From here, they blend creation and science to offer an eclectic interpretation of scientific endeavor, synthesizing the information gathered in collaboration with the laboratories into a formal and aesthetic experience in the exhibition hall. Semiconductor exhibits eight works that invite visitors to move through the sounds and images of the cosmos, interplanetary space, the planet's magnetic fields, solar winds, matter and antimatter, particles and fundamental forces, and the Earth's seismic activity. Nature studied by science is transformed into a diverse experience of perceptions in art, creating a closer connection with that which is human.

of the VIDA Art and Artificial Life Awards (2010-2015) at the Fundación Telefónica, Madrid (Spain), a pioneering space for fostering cross-cultural expressions around the notion of life. She launched and directed

It is not surprising that the Biennial of Media Arts has identified a formula for better understanding our world in the work of Jarman and Gerhard. But the fact that they have reclaimed a space for reflection during one of the most complex moments in Chile's modern history refreshing the soul in the process through art and creativity is a true accomplishment.

(2007-2010) the Education Department at Laboral Centro de Arte, Gijón (Spain) and initiated and founded the curatorial

The British Council is grateful for the opportunity to navigate this together and for the trust extended to Semiconductor to produce its work in Chile.

platform Cápsula. She has curated exhibitions and events internationally with contemporary artists, creators and thinkers of all disciplines. As an internationally recognized figure within art and science networks, Bello is a regular speaker at conferences and participates in selection committees, advisory boards and mentoring programs.



contemporary arts national center



The secret life of magnetic fields are revealed in Black Rain as chaotic, everchanging geometries. The action takes place around NASA's Space Science Laboratories at UC Berkeley from which images captured by the twin satellites known as STEREO were collected. The raw data from scientific satellite information is processed without having been cleaned or processed for public use. The presence of a human observer is made apparent as the viewer appreciates the calibration of technical artifacts and the process of capturing phenomena meant to expand our perceptions and knowledge through technological innovation.

Semiconductor is a British collective comprised of artists Ruth Jarman and Joe Gerhardt. The collective creates visual pieces that explore the material nature of our world and how we experience it through the lens of science and technology and questions how these devices - the works - mediate our experiences. Their unique approach has earned them numerous awards and prestigious grants, including the 2012 Samsung Art+ Award for new media, the Smithsonian Artist Research Fellowship, and a NASA Space Science Fellowship. Exhibitions and screenings include Let There Be Light at the House of Electronic Arts, Basel Arts, Basel (solo show); Words in the Making at FACT, Liverpool (solo show); Da Vinci: Shaping the Future, at ArtScience Museum, Singapore; Field Conditions at San Francisco Museum of Modern Art; Earth: Art of a Changing World, at the Royal Academy of Arts, London; International Film Festival Rotterdam; New York Film Festival, Sundance Film Festival, and the European Film Festival, London. Their first public sculpture, Cosmos, was unveiled in October 2014. It was commissioned by Jerwood Open Forest.

Single channel video + installation, 3'17" looped, 2009



contemporary arts national center



20 hz observes a geomagnetic storm occurring in the Earth's upper atmosphere. Working with data collected by Semiconductor from the CARISMA radio array and interpreted as audio, we hear chirps and rumbles caused by the incoming solar wind captured at a frequency of 20 hertz. Tangible and sculptural forms suggesting scientific views emerge, generated directly by the sound and through custom programming techniques. As different frequencies interact both visually and sonically, complex patterns emerge to create interference phenomena that probe the limits of our perception and interrogate our experience of such invisible phenomena.

In this piece, invisible magnetic fields are revealed as chaotic geometries in a constant state of flux. The action takes place around NASA's Space Science Laboratories, UC Berkeley, with recordings of space scientists describing their discoveries. VLF (very low frequency) audio recordings monitor the evolution of fields as they delve deeper into our inaudible environment, revealing recurring "whistles" produced by fleeting electrons. Are we watching a series of scientific experiments, the universe in flux, or a documentary of a fictional world?

HD + HD 3D single channel video, 5', 2011

Single channel HD video, 4'47", 2007



contemporary arts national center



Earthworks is an animation that creates an immersive experience of the phenomena of landscape formation through the scientific and technological devices used to study it. Masses of colorful layers are animated by the soundscapes of seismic, volcanic, glacial and human activity, recorded as seismic waves, which form spectacular fluctuating marble ripples. Semiconductor has employed the scientific technique of analog modeling, which uses layers of multicolored real-world particles and the application of pressure and motion to simulate tectonic and seismic forces. As the layers deform, they mimic the generation and evolution of natural landscapes over thousands of years revealing that they are in a constant state of flux.

5-channel computer-generated animation with 4-channel surround sound, 2016



contemporary arts national center



contemporary arts national center



Through the AEgIS is a space-time lapse that explores how we make sense of nature through the language of science. AEgIS is an experiment at CERN that examines how antimatter responds to gravity, showing us pions, protons and nuclear fragments flying from "annihilation sites". These particles ionize a photographic plate that reveals their trajectories as tracks of different sizes when developed. Based on these processes, Semiconductor has reconstructed the image to produce an animation that reintroduces time into the data, revealing the rhythms and artifacts of the data capture process.

One channel HD installation, no sound, 16'34'', 2017



contemporary arts national center



HALO 0.1/0.2/0.3 is composed of three animations made with raw data from the ATLAS detector at CERN's particle physics laboratory. Extracted from its scientific framework, the data becomes a physical form in its own right, something to explore as an artistic medium. Each animation offers a different perspective on the data, presented on custom square screens.

This work juxtaposes discussions of the application and processes of theoretical physics with footage from high-tech workshops at CERN, Geneva, Switzerland. Semiconductor explores the dichotomy that reveals itself between the surprisingly creative quest to theoretically model our physical universe and the hard, classical nature of producing instrumentation to test these notions. It delivers a sense of the scientific frameworks developed by humankind to explore matter beyond the limits of human experience while raising questions about our place in the broad nature of reality. The title The View from Nowhere refers to and questions the philosophical concept that science must remain an objective analysis of the natural world to continue being considered as having value.

Three CG animations on square screens, no sound, 2018

HD single-channel video, 13’11”, 2018



contemporary arts national center



Worlds in the Making is a work that explores how we observe, experience and create an understanding of the physical origins of the world around us. Through the tools and processes of volcanology, primordial landscapes of our volcanic planet are reinterpreted, creating a world slightly removed from the one we think we know, disrupting everyday assumptions about reality and questioning how science affects our experience of the natural world.

Three-channel HD video, 23’, 2011



contemporary arts national center



∞ (INFINITA) (infinite)

DECEMBER 17, 2019 - FEBRUARY 15, 2020

∞ (INFINITA) JUAN FERRER GUEST CURATOR The first lesson taught by fungi is that all life is interconnected. The Fungi Kingdom provides an ecosystemic view of the infinite living parts that make up the Earth. This subterranean kingdom surrounds us and although many do not know it, it is the third largest living kingdom on the planet.


Since 2016 Juan Ferrer has directed and curated the exhibitions of the Museo del Hongo ("The Fungi Museum"), where his sentiments on science and passion for the arts converge. In 2017, he won an

Spores, mycelia, mycorrhizae and the millions of types of fungi that exist make up one of the key players in the decomposition of organic matter, i.e., the transformation of death into life.

award in the "Haz Tu Tesis en Cultura" competition with his essay "El Museo del Hongo: cruce entre arte, ciencia y

The icon of the 14th Biennial of Media Arts was the reconstruction and reinstallation of the missing sculptural piece El cuarto mundo (The Fourth World) by Carlos Ortúzar. It was originally installed in the façade of a structure built for the UNCTAD III meeting in 1972. The Benjamín Vicuña Mackenna Museum participated in this version of the Biennial with the exhibition "∞ (Infinita)" produced and curated by the Museo del Hongo, a surprising exhibition of art and science. The pieces in this exhibition are inspired by cutting-edge mycological research that teaches us more about the Fungi Kingdom.

diseño", proposing new concepts for

These living beings permeate the world through their mycelial networks, connecting and perpetuating the cycles of life. We humans can learn through them that every act brings with it an immeasurable chain of effects. They are also showing us that the socio-environmental crisis is a set of phenomena that goes beyond climatic imbalance. "∞ (Infinita)" seeks to ignite thinking and motivate the design of alternative systems that integrate ethical and aesthetic dimensions in pursuit of balance and respect for life. This eighth appearance of the Fungi Museum opens the road to a mycocentric displacement, which places humans within the infinite mycelial network, a radical example of the mutual support and symbiosis of which nature is capable. Its germination at the Museo Nacional Benjamín Vicuña Mackenna puts fungi in the heart of the city, to understand and inhabit it as a living being, an infinite network. The works that converge in this exhibition challenge us to look beneath the surface, to avoid barriers and expand the senses in order to adapt to the state of crisis.

the dissemination of science through immersive and interactive artistic experiences in an itinerant and mutable museographic space. Since then, Juan has presented his work in various national and international contexts, both scientific and artistic, including the Telluride Mushroom Festival (2019), Bienal de Artes Mediales de Santiago (2019), the

Very little is known about what today we would call the ecology aspect of Vicuña Mackenna. He wrote about and took actions concerning the need for a rational exploitation of forests to prevent the desertification of the Norte Chico area of Chile. His best-known work was creating green areas in the city of Santiago, setting up parks and squares in different neighborhoods and creating the public promenade of Santa Lucia Hill on what was then a rocky crag. Does this work of the emblematic Mayor of Santiago connect to the projects of the Museo del Hongo and our own Benjamín Vicuña Mackenna Museum? Our answer lies in the creation of “∞ (Infinita).”

Sundance Film Festival (2020), Fungi Fest Valdivia (2020), Ars Electronica (2020), Congreso Latinoamericano de Micología (2020), Congreso Internacional de Educación para el Desarrollo Sustentable (2020) and Berlin Science Week (2020), in

By working with fungi, we are not beginning a new chapter in human history. Instead, we are reactivating an ancient interspecies relationship that manifests itself in our food, medicines, products and rituals. Mycology, the branch of biological sciences dedicated to the study of fungi, only achieved recognition of the Fungi Kingdom in 1969 as an independent field of the taxonomic order of living beings of Earth. Its properties present potential for research and learning about a form of life that has not yet been fully described. The eighth arrival of the Fungi Museum, an inhabitant of “El cuarto mundo” ("The Fourth World") is an opportunity to reconnect with it.

which he was selected as a finalist in the "Innovations of the year" category.

Just like a mycelium, the Museo del Hongo (Fungi Museum) was activated with the sponsorship and patronage of the Fungi Foundation. From there, it has been interconnecting with a series of collaborators that made the eighth performance event possible.


∞ (infinita) (infinite)

benjamín vicuña mackenna national museum



The right environmental conditions that fungi need to proliferate depend on water, temperature and oxygen. Today’s environmental crisis is the result of an imbalance that has misunderstood these common goods as resources.

# oyster mushroom (Pleurotus ostreatus), water, waterfalls, environmental conditions, source

Fuente is an enclosure that provides the necessary environmental control to grow oyster mushrooms (Pleurotus ostreatus), one of the best-known edible species of the Fungi Kingdom. The enclosure contains a closed water circulation system that functions as a humidity supplier and a platform for the mushrooms to grow. This sort of greenhouse mimics the pool in front of the museum, the space where the work was to be mounted prior to the social outburst that shook Vicuña Mackenna Avenue, the city and the country in 2019.

Claudia Müller (Santiago, 1983) holds a degree in Fine Arts from the Universidad Finis Terrae, a certificate in Graphic Production, Video and Photography, and a Masters in Visual Arts from the Universidad de Chile. She currently lives and works in Santiago de Chile.

On the second floor of the museum, a security camera projects what is going on inside the building, protecting the non-intervention principle, the sacred and the mystery. Designing environments that are appropriate for cultivating life arises as a concept that questions the role that humans have granted themselves, assuming a superior nature and the right to control and intervene in the cycles of life. In the book The Design of Environments for Life (2012), the anthropologist Tim Ingold raises the importance of coexistence and co-development that precisely corresponds to the way fungi live by forming a rhizomatic structure and associating the mycelium with plant roots, generating an interconnection between all actors in nature.

Her work is born from the observation of how everyday natural dynamics act on some materials. Through her work, Müller brings to light a new vision of the agency of these phenomena using media such as photography, video, and installations associated with industrial container objects to demonstrate the cyclical movements evidenced in images related to space-time and/or natural phenomena present in the

Collaborators: Juan Orlandi, Claudio Muñoz, Natalia Martínez, Patricio Haschke, Constanza Cortez, Benjamín Leiter, Nicolás Oyarce.


Plywood, acrylic, aluminum, copper, iron, PVC plastic, water pump, Arduino electronic system, hose, water, soil, Pleurotus ostreatus mushrooms, straw, closed-circuit security camera, projector, cattail, tin, 450 x 350 x 230 cm


∞ (infinita) (infinite)

benjamín vicuña mackenna national museum



A bio-textile made from a Kombucha SCOBY (symbiotic culture of bacteria and yeast) covers the rear façade of the museum. Textile production is one of the industries that generates the greatest environmental impact, so the use of Kombucha SCOBY -a biomaterial that functions like leather- could be employed to manufacture clothing with non-polluting life cycles. This material outcome is produced from the symbiotic collaboration between fungi and bacteria that ferment sugar in a pre/probiotic drink and excrete the biomaterial that accumulates and floats at the top of the beverage.

# biotextile, biomaterials, façade, cellulose, architecture, coating BioFab Lab FADEU UC is a multidisciplinary laboratory founded in 2017. It studies the possibilities for the participation of living organisms in biofabrication processes and

The intervention at the back entrance of the Benjamín Vicuña Mackenna Museum represents a dual action. At the same time that it adds an innovative material to the urban landscape, highlighting the pictorial and sculptural potential of areas already intervened by human beings, it also activates the building’s garden, suggesting that one reflect on habitation, the identity of our community, and connecting with nature even in urban contexts. By altering various spaces in the city using elements from the Fungi Kingdom, individual consciousness is projected to a global one that, in a rhizomatic and mycelial way, reaches a greater understanding of the dynamics of life, its vulnerability and beauty.

biomaterials. Its explorations are characterized by using low-cost, open-access technologies made in collaboration with other laboratories and organizations. Its objective is to catalyze processes of social transformation through material culture and the debates generated around it.

Collaborators: Esteban Lagos, Mariana Boubet, Esperanza Álvarez, Carmen San Martín, Valentina Stone, Nicolás Gil, Constanza Pavis, Gabriel Orrego (Kombucha Biloba) and Dr. Kombu Kombucha.

Strips of dehydrated and dyed Kombucha SCOBY, aniline, pine structure, steel, fishing line.


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COLECCIÓN DE AFICHES MUSEO DEL HONGO (FUNGI MUSEUM POSTER COLLECTION) ROSARIO URETA [CL] JUAN FERRER [CL] 1. Prototype for a Fungi Museum The event was held between November 4th and 6th in 2016 at the Club Social de Artistas, Santiago, Chile.

7. Telluride Mushroom Festival: Myceliating Minds Through Art The event was held on August 15th, 2019. Sheridan Opera House, Telluride, Colorado, EE.UU.

Artists: Fundación Fungi (Giuliana Furci), Rodrigo Arteaga, Rosario Ureta, Antonia Pérez Wagner, FONDA (Nicolás Aracena y Cristóbal Martínez), Juan Sáez, Juan Ferrer, Nicolás Oyarce, Andrea Moro, Nicolás Echeverría, Núcleo Milenio de Biología Fúngica Integrativa y Sintética (Luis Larrondo), Sebastián Rodríguez, Fernán Federici.

Artists: Duende Capitalista, Laura Ameba, Nicolás Oyarce, Juan Ferrer, Giuliana Furci.

8. ∞ (Infinita) (Infinite) The event was held December 17th, 2019 and February 15th, 2020. Museo Nacional Benjamín Vicuña Mackenna, Santiago, Chile

2. Vigilantes (Guards) The event was held between August 11th and September 23rd in 2018. Museo de Arte Contemporáneo, Valdivia, Chile

Artists: Claudia Müller, Rodrigo Arteaga, BioFab Lab FADEU UC, Natalia Cabrera, Fundación Fungi, Alexandra Mabes, Andrea Gana y Pedro Marambio.

Artistas: Iván Navarro, Futuro Fósil (Elisita Punto), Especie Axial (José Bidegain, Tatiana Carbonell).

9. Tearamas: Penicillium y otros registros (Tearamas: Penicillium and other records) The event was held between October 12th and 13th in 2019. Museo de Arte Contemporáneo Parque Forestal, Santiago, Chile

3. Cripto: Encuentro arte y ciencia (Crypto: Art and science meet) The event was held on October 21st, 2018. Castillo Hidalgo, Santiago, Chile

Artists: Juan Ferrer, Nicolás Oyarce, Brezo Setas, Rosario Ureta.

Artists: BioFab Lab FADEU, Juan Ferrer, Óscar Llauquén, Paola González.

4. Estudios de fórmula (Formula studies) The event was held between November 15th and 25th in 2018. Barrios Bajos Gallery, Valdivia, Chile Artists: Rodrigo Arteaga, Andrea Lira, BioFab Lab FADEU, Labva.

5. Dormancia en Museos de Medianoche (Dormancy at Midnight Museums) The event was held on November 16th, 2018. Casa O, Lastarria, Santiago, Chile Artists: Óscar Llauquén, Futuro Fósil, Especie Axial (José Bidegain, Ignacia Ferrer), Fernán Federici.

6. Noche del Hongo: Acción Balistospora The event was held on May 30th, 2019. iF Blanco Recoleta, Santiago, Chile Artists: Alexandra Mabes, Futuro Fósil, Natalia Cabrera, BioFab Lab FADEU UC, Haití


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∞ (Infinita) (2019) (Infinite) Rosario Ureta

Prototipo para un Museo de Hongos (2016) (Prototype for a Fungi Museum) Juan Ferrer


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Since the invention of magnifying glasses and microscopes, most microphotographs have been made from a scientific, industrial or engineering point of view. Today, open hardware and open-source software make microscopy an accessible technology, giving rise to personal and domesticscale projects that allow a wide range of transdisciplinary (or undisciplined) collaborations.

# microscopy, open hardware, open source, education The Laboratorio de tecnologías libres (Open-source technologies laboratory) began operating in 2013 and is located

The laboratorio de tecnologías libres (open-source technologies laboratory) has adopted this model together with a group of collaborators to facilitate the amateur use of microscopy. To promote these technologies, this group has partnered with BioFab UC and the Museo del Hongo hoping to contribute to the development of low-cost research in the context of biofabrication in community laboratories, schools and biohacking spaces.

at the UC Institute of Biological and Medical Engineering. This space hosts undergraduate and graduate students in Engineering and Biology.

Comunicaciones Especulativas (Speculative Communications) Paloma López, Leslie García, Isaac Núñez, Tamara Matute, Daniel Nuñez, Fernán Federici, Janneke Noorlag, Juan Keymer BrewerMicro Fernando Castro, Fernán Federici MicroScanner Sebastián Rodríguez, Fernán Federici


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This audiovisual archive shows records of performances and processes of creation of works made for various shows at the Museo del Hongo in Santiago and Valdivia. 1. MDH Records (2016 - 2018) Video collage with footage from the first five MDH shows. Editing by Eva Isensee. 2’30’’

6. Dormancia en Museos de Medianoche (2018) (Dormancy in Midnight Museums) Record of the Dormancia performance at Casa O in Lastarria. At this event visuals were projected in memory of Camilo Catrillanca, killed by police forces days before the opening. Camera by Juan Ferrer; video editing by Eva Isensee; music by Futuro Fósil; performers: Especie Axial (José Bidegain, María Ignacia Ferrer). 1’58’’

2. Appearance #2. Vigilantes (2018) (Guards) Micro-documentary of the experimental residency process proposed in the vaults of the Museo de Arte Contemporáneo de Valdivia. Editing by Nicolás Oyarce; camera: Rodrigo Guerra, Sebastián González, Félix Vergara and Nicolás Oyarce; sound design: Studio Creativo Global. 14’48’’

7. Hypha video process Record of the process of creating and assembling the piece. Camera by Hishashi Tanida, editing by Eva Isensee, and music by Daniel Marabolí. 2’30’’

8. Inocular video process Recording of the process of creation and editing the piece. Camera by Hisashi Tanida, Eva Isensee; editing by Eva Isensee; music by John Hassel - Fourth World Vol. 2. 2’30’’

3. Acción Balistospora (2019) (Balistospora Action) Recording of the performance done suring the MDH Appearance #6. Visuals by Natalia Cabrera; music by Futuro Fósil; video editing by Juan Ferrer; camera by Unmapped Films; performer: Alexandra Mabes. 4’43’’

4. Myceliating Minds Through Art (2019) Recording of the performance held at the 39th Telluride Mushroom Festival. Costumes designed by Duende Capitalista; video editing by Kaard Bombe; music by Daniel Marabolí; performers: Giuliana Furci, Nicolás Oyarce and Juan Ferrer. 19’43’’

9. Biofachada video process Recording of the process of creation and editing of the play. Camera and editing by Eva Isensee; music by John Hassel- Fourth World Vol. 2. 2’30’’

5. Dormancia en MAC Valdivia (2018) (Dormancy) Recording of the Dormancia performance in the vaults of MAC Valdivia for the closing of the Vigilantes Appearances. Camera by Rodrigo Guerra; video editing by José Bidegain; music by Futuro Fósil; performers: Especie Axial (José Bidegain, Tatiana Carbonell). 2’41’’

10. Fuente video process Record of the process of creating and assembling the piece. Camera and editing by Eva Isensee; music by John Hassel - Fourth World Vol. 2. 2’30’’


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A series of objects, some made from mycelium of the Pleurotus ostreatus and Trametes versicolor mushroom species, others from plaster, polyurethane, bones and various materials, stand on a large plinth in the middle of the room that recounts the life of Benjamín Vicuña Mackenna. This man of letters and action had an immense impact on the development of arts and technologies in Chile, so these pieces follow his innovative spirit and bring him back to a world in crisis.

# biofabrication, biomaterials, biotechnology, sustainability, fungi, material culture, Santa Lucia hill, biotechnology, sustainability, mushrooms Rodrigo Arteaga (Santiago, 1988) holds a degree in Visual Arts with a minor in

Rodrigo Arteaga's series of sculptures is inspired by heritage elements, some of which had decorated the old Santa Lucía Hill Promenade, inaugurated in 1872 by Vicuña Mackenna while he was Mayor of Santiago. The origins of these forms are marble vases, cast iron figures of goddesses, warriors, an angel, goat and dog heads, which for various reasons have gradually been disappearing. It also includes replicas of fragments of other pieces of decorative art from the period taken from the Municipal Theater and the Pereira Palace. The installation is proposed as a field of imaginary and intuitive archeology in which these objects reappear converted into organic fragments, just as memories do in the mind.

Printmaking from the University of Chile and a Masters in Sculpture from the Slade School of Fine Arts, University College London. His work consists of sculptures, installations, and drawings through which he seeks to understand the complex relationship between nature and culture, inviting us to rethink the place of humanity in the world and unearth the coded enigmas of our relationship with the environment.

Inocular comes from the Latin inoculare, which means to graft. As the title of this installation, the term refers both to the biological process and to dynamics of cultural imposition. Arteaga's group of sculptures thus represents the contradictions and complexities of colonialism, domination and hybridization that mark the cultural histories of Europe and America. European-style decorative art is a sample of these dynamics that also installed a model of work and industrialization oriented towards progress. Today we know that this history led to the destruction of non-linear ways of life, triggering a deep fissure in the native peoples and other rural human, plant, animal and fungi communities that today are overwhelmed and violated. The destruction or disappearance of these pieces and their current reappearance in the form of organic fragments invites us to reflect on the desire for the permanence of heritage, on the ruin of grafted colonial codes, on the possibilities of thinking about culture in an organic way, thus, incorporated into the cycle of nature. Collaborators: Felipe Muñoz, Aníbal Fuentes, Camila Astaburuaga, Francisca Castro, Gabriel Arteaga and BioFab Lab FADEU UC.

Dehydrated mycelium of Pleurotus ostreatus and Trametes versicolor with substrates of straw, rice and flour, plaster, bones, found materials, wire supports, plinth, 200 x 200 x 200 cm


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Hypha is an immersive virtual reality experience that turns the user into a mycorrhizal fungus of the species Stephanopus azureus. This experience is intended to trigger a mutation in those who experience it and thus transmit the power that fungi hold to cleanse the Earth of the ecological disasters caused by humans.


From spore to mycelium and then to mushroom, those who enter will be able to experience the life cycle of a fungus and incorporate the importance of the Fungi Kingdom as the main planetary recycling agent.

Natalia Cabrera (Iquique, 1988) is a

biomechanics, origin of life, natural systems, sustainability, adaptability, ecological cycling, recycling, climate crisis, decomposers

media artist and interactive storyteller, with a degree in Film and Television from the Universidad de Chile and a Masters

In the course of the experience, the senses are immersed in the notion of pansporia; the arrival of extraterrestrial organisms carried by meteorites to Earth. They are incorporated into the fungal metabolism cycles in order to feel their enzymatic and recycling power as well as the essential symbiosis between plant and fungi, which forms mycorrhizae, the growth of the carpophore and the release of spores. All these phenomena are essential to the ecological cycles and show the interdependence of the actors that maintain the natural balance of the systems.

in Media Arts from the Interactive Telecommunications Program of New York University. She currently lives and works in Santiago, Chile. Her work ranges from documentary film production to interactive installations, virtual reality experiences and augmented reality applications in which she addresses the relationship between society, technology

Throughout its history, the planet has survived climatic phenomena that have devastated the life forms that reside on its surface. These include glaciations, meteorite impacts, droughts, fires, mega-volcano eruptions and other causes that have radically transformed the Earth, with the current crisis being the first to be directly related to our way of inhabiting it. A more serious and imminent collapse of our ecosystems may occur if the variables are destabilized as a result of pollution, the loss of biodiversity and global warming. As mycologist Paul Stamets warns, the biosphere could expel us like a virulent organism if we do not act as a responsible species and continue to maintain the current rate of ecological destruction.

and the environment.

Hypha uses virtual reality technologies in an effort to raise awareness of the fundamental role of the recycling work of the Fungi Kingdom. The small theater built with biomaterials is shaped like an Omega (Ω), which is much more than a metaphor, a symbol of the end and of new life. The floor that supports it is covered by a carpet reminiscent of the forest floor. Collaborators: Nicolás Oyarce, Joaquín González, Margarita Talep, A Whole New World (Piedad Aguilar), Constanza Cortéz, Óscar Cajales, Camilo Cajales, Alastair Aguilera, Osvaldo Ruiz-Tagle, Juan Ferrer, Sebastián González, Daniel Marabolí, Trinidad Piriz, Diego Aguilar, Paola G. Olea, Javier Garay, Rosario Ureta, Richard Lapham, Fundación Fungi Computer, Vive VR headset, wood, algae- and gelatin-based bioplastic, magnets, wool carpet, 400 x 300 x 200 cm


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Colección única extrema is a selection from the fungarium of Fundación Fungi (registered with the FFCL code) shown here for the first time to the public. It is composed of eight specimens of fungi that grow in some of the most extreme conditions in Chile collected by Giuliana Furci from different parts of the country. She accompanies the description of each species with an account of the extreme experiences she had.

Fundación Fungi es una organización global que explora a los hongos para

5. Geastrum fornicatum “Estrella de Tierra Abovedada” (FFCL 429) Collected in Mahuida Park, Santiago. Metropolitan Region.

aumentar el conocimiento sobre su diversidad, promover soluciones innovadoras a problemas contingentes, educar sobre su existencia y aplicaciones,

« They are found in semi-arid areas under litre trees, often surrounded by thorny shrubs and trees. It is hard to see and remove them. They generally appear in very dry seasons.»

además de recomendar políticas públicas para su conservación.

1. Calvatia utriformis “Tabaquera del diablo, bejín” (FFCL 207) Collected in Tierra del Fuego, Region of Magallanes and Chilean Antarctica.

6. Disciseda sp. (FFCL 1566) Collected on the coast of the Pacific Ocean in the Coquimbo Region.

«It grows in open pampas in 50 to 100 km/h winds. What is most impressive when you see them is how they keep their shape while being struck with such a gale. This explains how their spores get dispersed. They are seen from afar because they are large and striking, in contrast to the greenery of the grasslands of the Patagonian steppe. They are edible when young and the spores are medicinal and serve as a healing agent. The base also functions as tinder so the native peoples of the area used it as a fire starter.»

«It is very difficult to explain how they grow because they appear loose on a substrate, meaning that when you find them they are not connected to the soil through their mycelium. When the sporiferous apparatus appears, they twist as if they were turning around. You always catch them upside down in conditions of drought and extreme wind on the coast or in semi-arid zones.»

2. Chlamydopus meyenianus (FFCL 02) Collected at Socaire, Antofagasta in the Antofagasta Region.

7. Montagnea arenaria (FFCL 0040) Collected in Polpaico, Tiltil in the Metropolitan Region.

« Desert fungus that is an extreme find because it is the same color as that of the ground of the Atacama Desert so it can hardly be seen. It survives in temperatures over 40ºC in direct sunlight. It has a rooting stipe that goes down several centimeters into the ground in search of water. The spores are also used as a healing agent.»

«I found it in the middle of a limestone mine in an area of extreme disruption with the ground completely broken up and turned upside down, full of stones and without any vegetation. It is a very dry and very abundant species. I have no explanation of how they grow, where they get the water to grow, or how this mycelium in these conditions manages to form this structure. It's extremely amazing!»

3. Battarrea stevenii (FFCL 006) Collected at Aguada de Tongoy, Huasco in the Atacama Region. «Another desert species. This one is extremely dry and lives at very high temperatures with just a few millimeters of rain per year. It gets water from the condensation that results from the change in temperature from day to night in the desert».

8. Agaricus sp. (FFCL 91) Collected at Isla Isabel, Strait of Magellan in the Region of Magallanes and the Chilean Antarctic.

4. Trametes sp. (FFCL 0014) Collected in Tierra del Fuego in the Region of Magallanes and the Chilean Antarctica.

«This is the first island where English companies introduced sheep. This species grows in areas of extreme wind and extreme everything. In the middle of the Strait of Magellan, I found it frozen in the morning completely covered with ice, and yet it was alive. In a place where you can barely have a bit of skin peeking out, this species is growing and is full of water. It can withstand in extreme conditions of temperature, wind and inhospitable terrain and still persist.»

«I found it in a beaver dam in a stretch of dead Lenga forest that was completely destroyed by beavers in one of the most extreme situations possible. And there it was, decomposing a trunk in the process of returning its energy to nature. I saw it from afar, and I had to walk through a lot of fallen and standing branches, pegs left by the beavers. I had to cross beaver dams to get to it».


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MICRODOCUMENTAL: COLECCIÓN ÚNICA EXTREMA (MICRO-DOCUMENTARY: EXTREME SINGLE COLLECTION) FUNDACIÓN FUNGI [CL] MUSEO DEL HONGO [CL] This video captures the research and curatorial work done by the Fundación Fungi in January 2019 to prepare the selection that was exhibited at this eighth appearance of the Museo del Hongo.

# biodiversity, chilean fungus, fungus, fungi, extremophiles, adaptability, light

The work highlights the adaptive capacity of fungi as evidence of the ubiquity of the Fungi Kingdom and its importance within the ecological cycle. Their ability to grow in extreme conditions, determined by the type of substrate or environmental conditions, shows a perpetual energy that integrates life through death by means of the associations that fungi form in each ecosystem. Conventional notions of fungarium, collection, curatorship and museography are reformulated by this intersection between art and mycology, placing each individual -and the experience of collecting it- in the place of an artistic creation. The montage shows the biodiversity of fungi in Chile as part of our natural heritage. Funga chilena (the Chilean fungus) is a recently coined term that refers to the biodiversity of fungi in the territory. Collaborators: Giuliana Furci, Francisco Kuhar, Hugo Madrid, Donald Pfister, Daniela Torres, Nicolás Arze, Z+ Studio, Pascual Mena, Sebastián González, Pedro Lorca, Diego Aguilar, Eva Isensee, Caudal Films.

FFCL fungal splits, dehydrated carpophore samples: Calvatia utriformis, Chlamydopus meyenianus, Battarea stevenii, Trametes sp., Geastrum fornicatum, Disciseda sp., Montagnea arenaria, Agaricus sp., ceramics, iron, acrylic, TV.


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benjamín vicuña mackenna national museum



This piece is both a map of Chile and a showcase of different types of filamentous fungi grown in fifteen glass containers and preserved in resin. The way in which these fungi are propagated describes each of the fifteen regions of the country.

# geography, bioart, chilean fungus, ubiquity

Atlas regionalizado de Chile is a clear example of integration between the arts and sciences, opening new possibilities for interdisciplinary dialogues highlighted by mycologist Paul Stamets during his visit to Chile in January 2019. "When art and science converge, spirituality emerges". A spirituality that we understand as an individual and global consciousness that brings forth new multidimensional capacities for problem solving. This heightened state of consciousness gives rise to a reflection that brings together the humanities, social and natural sciences as tools for shaping the public imaginary through creative practices, archive generation, curatorial initiatives, cross-language translation and political activism. The length of our country, marked by its different types of climates, provides an unparalleled scenario for the proliferation of diverse species adapted to each of these ecosystems. Through the efforts of Fundación Fungi, Chile is a world pioneer in specific legislation for the preservation of fungal species, including fungi in Law 19.300 on the general environmental principles. This legal platform is a unique opportunity to continue with the tasks of research, discovery and protection of our fungi. Collaborators: San Joaquín Medical Center Microbiology Laboratory

14 cultures of filamentous fungi and resin in glass containers of 20 x 30 cm each


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The work consists of accumulated mycelium blocks of native fungi and agricultural waste produced with formulas that are shared using open-source principles. The blocks degraded over the course of the exhibition. As activists of symbiosis, the network of creators that make up this exhibition share their formulas and strategies inspired by intellectual and practical collaboration focused on the common good (rather than on issues of individual freedom that are prominent in other models).

# biofabricación, biomateriales, biotecnología, sustentabilidad, hongos, arquitectura

Monumento abierto is a collective reaction to the implications of materials in the socio-environmental crisis and a common search for possible solutions based on the development of biomaterials and energies that respect life cycles. This work stands as a construction of new paradigms around materials, a platform that warns about the productive processes, as well as an experiment that opens up to new possibilities within the modified ecosystem in which we live. This monument is proposed as a milestone in the history of science, which for years has ignored the Fungi Kingdom, missing out on the technological potential that can provide solutions to several of the main consequences of industrialization starting with the use of plastic and other non-biodegradable synthetic materials. With it we want to recognize that fungi can provide us with tools to repair the damage we have caused to ecosystems. The exhibition of the construction process of the work takes on a special relevance in generating empathy, knowledge transfer and technology delivery to the community. In this case, the productive process of Monumento abierto and the information gathered during the time of its construction will be exposed and released into the public domain. This will open it up to other potential uses, improvement and application of this mycelium-based biomaterial in distributed economies with free and open-source science applicable from the micro- to the macro-scale.

Collaborators: Aníbal Fuentes, Juan Ferrer, Catalina de Pablo, Gabriela Fuentes, Galit Hojman, David Benjamin, Iván Navarro, Lindsey Wikstrom, James Stoddart, Ray Wang, Lorenzo Villaggi, Francisco Chateau, Daniel Monsalve, Juan Acevedo, Agustina Hidalgo, Trimex, Eduardo Toro, Carlos Martínez, Natalia Gárate, Vicente Solis, Constructora Hormigón, Andrés Romero, Felipe Muñoz, Matías Elliott, Sebastián Aguilera, Sebastián Rodríguez, Ricardo Aliste, Esteban Lagos, Rafael Astaburuaga, Francisca Zamora, Claudia Rudloff, Germán Guzmán, Gabriela Martínez, Amilcar Garrido, Paula Ulloa, Rosario Ureta, Francisco Blumel, Montserrat Monasterio, Beruz Herrero, Lucas Moyano, Fernán Federici, Teresita Quezada, Carola Roa, Florencia de la Maza, Francisca Orroño, Francisca Feijoo, Matías Torres, Constanza Arenas, Sofía Clavería, Montserrat Martínez, Maiitaki Gomez, Ignacia Vicuña, Vicente Soto, María Trinidad Miranda, Tania

15 dehydrated mycelium blocks of 40 x 20 cm of native

Pedraza, Fernanda Peñaranda, Magdalena Parga, Vicente Osorio, Javiera Carreño, Marcela Villarroel, Scarlet, Valentina Yévenes, Josefa

Pleurotus ostreatus and Trametes versicolor species on

Gálvez, Bernardita Espinoza, Camila Valdivia, María Fernanda Millanao, Josephine Walbaum, Daniela Collarte, Paula Araya, Ricardo Farías,

straw substrate.

Rocío Rojas, Felipe Vidal, Tomás Olavarría, Antonia Daher, Michelle Vergara, Catherine Pereira, Pamela Lillo, Damián Aros, Daniela Carreño, Sofía Terrel, Inge Kahler, Javier González, Isidora Blanch, Javiera Alvarado, Franco Pérez, Valentina Paredes.


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TAYPI. 10000 SOLES (taypi. 10000 suns)

SEPTEMBER 28, 2019 - OCTOBER 12, 2019


«Taypi. 10000 soles» explores the relationship among energy, landscape and technology and seeks to contrast current environmental degradation with recovering a coexistence among various kinds of nature. The Posada del Corregidor Art Gallery, emblem of a colonial culture and fictional heritage, has become an intersection between Andean culture and a Western culture of extractivism. Thus images came together of a laboratory in Germany in which over a hundred lamps form Synlight, the largest artificial sun in the world capable of generating a radiation equivalent to 10,000 suns. The notion of taypi ch í xi was also included, having been recovered by the Aymara sociologist Silvia Rivera Cusicanqui from patterns in Andean textile art. This diagram invokes the ritual space in between, a place of encounter and coexistence that multiplies in meanings as it unfolds between space-time and the here and now. Colonial dynamics are then revealed as an order still in force that governs our social and material relations. Unfolding and folding this order, the work of artist Elisa Balmaceda opens access to other possible narratives for a history of circular time in which opposing forces and worlds come to converge. The pieces in this exhibition are the result of a series of walks through landscapes with varying degrees of human intervention. Walking lets us connect experiences, documents and objects. Walking and connecting, recognized as a way of doing, are strategies to decolonize history and deactivate the binary logics that force a separation between the sciences and arts and activism, between natural and human sciences, ancestral knowledge and contemporary thinking, technologies and diverse sources of energy, and also between threatened landscapes and regeneration. This exhibition was part of "The Fourth World", the 14th Biennial of Media Arts, and was held as part of the Municipal Young Art Award 2018 with the sponsorship of companies associated with efficient energy use such as Solinet in Chile and Signify by Philips. The objects and installations that comprise each work were made with reused, recycled materials, and/or acquired through swapping or barter, putting into practice a circular economy that complements the reflection on the act of making that this exhibition raises. The electronic devices were powered only using solar energy obtained on site resulting in an exhibition with zero emissions (carbon footprint or CO2) and a series of works conceived and conditioned upon the geolocation of the exhibition site. 10000 suns = dis/orientation 10000 suns = CLP 2,148,334.49 10000 suns = 2.77 k Co2 10000 suns = 310 Kw (310,000 watts) Collaborators: Solinet, Signify Philips Hue, Cineteca Nacional CCPLM


taypi. 10000 soles (taypi. 10000 suns)

posada del corregidor art gallery




Specimens of Quillaja saponaria, endemic tree of the sclerophyll forests in central Chile, grown in a nursery in the Santiago Municipality’s O'Higgins Park.

# quillay, sclerophyll forest, Cerro La Campana, thermoelectric power plant,

A video recording of an ascent to La Campana hill, an official Biosphere Reserve, along a route that ends at the site of the Los Rulos thermoelectric plant. The tour is guided by biologist and environmentalist Salvador Donghi, leader of the resistance against this energy project.

The installation recalls the intersection of sacred Andean geography with the extractivism, mining and urban nature of western culture. Kuel is the Mapudungun name for the artificial mountains built as ritual spaces.

# rite, mining, extractivism, andean

environment Elisa Balmaceda (Santiago de Chile, 1985) es artista visual, profesora e investigadora. Su trabajo aborda las

This piece is part of the project Paisajismo Electromagnético (Electromagnetic Landscape) by artists Cristián Espinoza and Elisa Balmaceda.

poéticas de lo visible y lo invisible, explorando el vínculo entre el paisaje, la tecnología, la óptica y la materialidad del

Collaborators: Salvador Donghi, biólogo, and Pedro Donoso, curator.

cuerpo y de lo oculto.

HD video, 20', projected on recycled monitor

Debris, pieces of soil and stones from excavations annexed to the gallery, mirrors, LED lights.


taypi. 10000 soles (taypi. 10000 suns)

posada del corregidor art gallery




Video-composition based on a conversation between the artist Elisa Balmaceda and the Aymara sociologist Silvia Rivera Cusicanqui, who describes the notion of Taypi in the Andean cosmovision.

# sacred geography, thermoelectric power plant, sclerophyll forest, andean space-time, environmental degradation,

Real-time video recording of the exposure of a metal plate to radiation from Synlight, the world's largest artificial sun developed by the Solar Research Institute of the German Aerospace Center (DLR) located in North RhineWestphalia, Germany.

# sun, energy, global warming, observation, Andean space-time, environmental degradation, extractivism, decolonization

decolonization, activism

Video HD, 2’ min. Proyección 16mm, instalación en loop. 2'46'' HD video

2' HD video

Cyanotype (solar photography), 50 x 70 cm

16 mm projection, loop installation, solar panel


taypi. 10000 soles (taypi. 10000 suns)

posada del corregidor art gallery




AUGUST 31, 2019 - FEBRUARY 2, 2020



Using photography, video, and extensive fieldwork, Ignacio Acosta creates collaborative artistic research processes in various places where the earth is being cleared away. His work explores the geopolitical power of minerals and is dedicated to recomposing geographies and historical narratives that account for traces of minerals and the commoditization of nature.

This video installation featuring two synchronized screens and surround sound examines the use of drone technology in protests by activists and the indigenous Sápmi people against the Gállak mining exploration project in Jåhkåmåhkke (Jokkmokk), Norrbotten County, Sweden. The Sápmi are an indigenous minority living in Sábme, a territory that was colonized at different times by Finland, Norway, Sweden and Russia. The systematic division, expropriation and industrialization of Sábme and the violent repression by the colonizers has resulted in cultural division and loss of their original rights to ancestral territories.

Through "Litte ja Goabddá [Drones and Drums]", the Salvador Allende Solidarity Museum is participating in the fourth world of the 14th Biennial of Media Arts. This work is the result of a commission from the Hasselblad Foundation / Valand Academy, Gothenburg, Sweden as part of the Drone Vision project led by curator Sarah Tuck. It is the culmination of the experiences that the artist gained while living with the Sápmi people and was motivated by a desire to collaborate on the defense campaigns that this community is using to defend their ancestral territory of Sábme (northern Sweden), besieged by mining companies. The work speaks about the possibility of merging time periods and cultures to protect an ancestral civilization. Contemporary war surveillance technology is used here as a tool for counter-espionage and artistic creation. This panoramic view is enhanced with shamanic drum vibrations as they issue a proclamation that resounds throughout this and all other worlds.

In "Litte ja Goabddá [Drones and Drums]", Acosta creates a chronological arc that connects electronic technology and shamanism, representing archetypes of synergic relationships, conveying the gestures of resistance of a generation that may be living the last of its 7,000 years of culture. “El cuarto mundo” (The Fourth World) serves as a sounding board and also a meeting and learning place for new ways of life on Earth. Collaborators: This exhibition is a production of the Museo de la Solidaridad Salvador Allende with the support of the British Council Chile.

Gállak is one of the largest undeveloped iron ore deposits in Europe. Beowulf Mining PLC applied for a 25-year concession to mine the area. The granting of this mining permit would have a tremendous impact on the fragile ecosystem of the area and disrupt the reindeers’ migration route. If this were to happen, the cultural life of the Sápmi would suffer irreversible damage and much of their valuable indigenous knowledge would be lost. Over the course of several research trips, Ignacio Acosta (1976) met with activists and Sámi families who live and work in the area now threatened by mining. The project was done in collaboration with the Sápmi to highlight the importance of the land and convey the anxiety caused by what would happen if the activists fail to stop the mine from opening. The artist understands drones and drums in his work as tools of resistance against the extraction of natural resources. Thus, he destroys the typical notion of drones, a technology associated with ideas of vertical control, surveillance and war conflicts. Instead, he uses it as a tool of counter-surveillance during the protests against the mining project. He simultaneously uses the drums in the ancestral way of indigenous peoples to connect to both Mother Earth and other worlds. Thus, both drones and drums are tools for communication and navigation, documentation and mapping. An implicit part of the project is the reinterpretation of the view from above about the Sápmi's grievance, the threat posed by the extraction of their resources, and the potential transformation of their land into a source of capital. The photographic installation Giesse & Dálvve [Summer & Winter] is composed of series of observations captured during the research process. While Giesse focuses on the fractured earth left behind by Beowulf Mining after extracting iron ore samples, Dálvve presents images of Jåhkåmåhkke, the town closest to the conflict site.


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum



Litte ja Goabddá [Drones y Tambores] by Chilean artist Ignacio Acosta explores the use of drone technology, redefined as protest infrastructure by the indigenous Sápmi people against Gállak mining projects in Sweden's Sábme. The works consist of a two-channel video with immersive sound design and high-resolution photographs showing views of the Swedish landscape and the protest struggle of indigenous people and environmentalists. Acosta suggests in these works a symbolic link between drones as a tool of resistance to neoliberal power and the use of drums as resistance to Christianization processes.

# activism, drones, Sápmi, extractivism, counter-surveillance Ignacio Acosta (1976) (1976) is a Chilean-born visual artist and researcher living and working in London. His artwork explores places of vulnerability as their ecology is exploited by colonial intervention and intensive capitalization.

Drone technology is associated with "vertical control", surveillance and warfare inputs, which are perceived to be mostly in the hands of privileged capitalist and military forces.

His interconnected research projects involve extensive fieldwork, research analysis, audio-visual documentation and critical writing on sites and materials

By using drones as tools for activism, awareness raising, political resistance and environmental justice, the project challenges the ways in which surveillance is distributed, transforming those who are the "observed subjects" into "those who observe."

of symbolic relevance. He develops collaborative work methodologies with local actors such as activists, artists and writers. His most recent work explores the possibilities of drone technologies as

The image of the indigenous drum then appears. The ritual sound of its percussion is understood in indigenous worldviews as a mechanism for spiritual ascension. Acosta thus metaphorically relates the journey to the heights of the Sápmi spirit to the flight of the drone, to a state able to observe from a high perspective.

tools of resistance within the struggle for decolonization. He earned a doctorate in 2016 at the University of Brighton. His thesis Copper Geographies edited by Editorial RM

The video contains drone footage that was collected in collaboration with activists who use this technology as a "weapon" to expose the negative impacts of logging, mining and water exploitation in Sábme, the Sápmi region. The activists subvert the conventional binary opposition between perpetrator and victim and confront the traditional ideology of power, visibility, and fear intrinsic to surveillance technologies.

(2018) and developed as part of Traces of Nitrate (ww.tracesofnitrate.org), consisted of a research project developed in collaboration with art and design historian Louise Purbrick and photographer Xavier Ribas. It was funded by the Arts and Humanities Research Council (AHRC).

Gun Hofgaard, Purkijaur, Jåhkåmåkke, Sweedish Sábme, 2018 Photography: Lorna Remmele


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum

Litte ja Goabddá [Drones y Tambores] (2018) Two-channel video installation, 18'18'' loop with immersive sound design. Photography: Lorna Remmele


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum


Photography: Lorna Remmele


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum


Dálvve [Invierno] / [Winter] Photographic series, 16 prints in 16 pigments Jåhkåmåhkke [Jokkmokk], Norrbotten, Swedish Sábme Photography: Lorna Remmele


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum


Giesse [Verano] / [Summer] Photographic series, 16 pigment prints Gállak mining exploration site, Norrbotten County, Swedish Sábme Photography: Lorna Remmele


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum


Mose Agestam, Burning Machine Festival, Gállak, Sweedish Sábme 2017


litte ja goabddá [drones y tambores] (drones and drumbs)

salvador allende solidarity museum



ARQUEOLOGÍA DE LA LUZ (archaeology of light)



26, 2019


We look at certain images captured in the past in an attempt to visit historical moments. In the temporal mismatch, the impotence of their representation is revealed to us, similar to the time disjunction that lets us see stars already extinct as of thousands of years ago. "Arqueología de la luz" digs into that impossibility. Beyond the mere exhibition of images, it explores their interaction with the matter of time. Layers of dust, accumulation of experiences, optical instruments and projection techniques are superimposed to record a materially and temporally precarious landscape. The devices that Cristo Riffo builds are memory machines that he uses to remove and restore photographs using air, movement, sand and light. When activated, such elements dilute and melt the memories of the scenes, casting doubt on their representation. What is real in memories? The artist invites us, through technology and its poetics, to travel through utopias enunciated in past decades to contrast them with the present and in doing so, bifurcate the lines of time to connect bodies, memories, places. It features an old film recording of the Victory Train on its journey, a touchstone of Salvador Allende's political campaign. He traveled around Chile between 1952 and 1970 spreading the dream of Popular Unity on railroad lines that lie dismantled today like ruins. Additionally, there are records of today’s real estate depredation that has either destroyed, or even worse, built a precarious city atop emblematic structures. Such is the case of the Puerto Montt Train Station that was converted into a mall or the imposing Núcleo Ochagavía real estate project camouflaged behind the concept of recycling. It rests on the ruins of the dream of the largest and most advanced public hospital in South America, which survives today as a symbol of modern failure, a "white elephant". This exhibition is part of El cuarto mundo, 14th Biennial of Medial Arts of Santiago, and of the program Estrategias para desviar el Neoliberalismo (Strategies to divert Neoliberalism) of Galería Metropolitana. The two works that compose it connect places and temporalities, seeking to compose common memories and new stories. They evidence the fracture of a territorial identity. It is through this fissure that the artist invites us to enter the socio-environmental crisis affecting our present. Preparing dispossession adaptation strategies is essential for beginning a path of returning to the land.


arqueología de la luz (archaeology of light)


Chile has been experiencing a profound temporal displacement as both a crisis an anomaly since October 2019. We do not know, and have no way of knowing, what the future holds for us. In the midst of uncertainty, one of the questions is whether the rabid unbridled chaotic impulses that ended up bursting the empty formalism of a non-participatory democracy can be redirected toward alternatives for change that partially block or undermine the neoliberal hegemony, moving from pure negativity to transformative innovation. Nelly Richard, «Memorias del neoliberalismo en Chile: pasados, presentes y futuros incompletos» (Memories of Neoliberalism in Chile: Past, Present and Incomplete Futures), Museo Reina Sofía, 2020 «Arqueología de la Luz» was an installation by Cristo Riffo as an exercise in critically activating the memory for which the artist employed a combination of tools linked to electronics, optics and chemistry. One of two pieces projects visual records and the other dissolves them on luminescent dust as an overview of Chile's modern history. To do so, he recovered and used photographic archives related to Puerto Montt's train station (1913), the land seizure that gave rise to the La Victoria squatter neighborhood (1957), Salvador Allende's Tren de la Victoria (1958), and the former hospital in Ochagavía (1970). These inputs enabled him to articulate a poetics of fragility, of temporality, and of the history of Chile. This exhibition symbolically connected Santiago and Puerto Montt (through an imaginary railway line) as it aims to interrogate our current economic and political system where real estate speculation and urban and rural destruction are the axes that “govern” our daily life. «Arqueología de la luz» coincided in time with the social outburst of October 2019, an event that put Chilean neoliberalism on edge. The social revolt quickly expanded like 'wildfire', sweeping Chile from north to south, putting in check the economic, social, political and legal model in force in the country. Likewise, the local art system was deactivated, imploding and exploding simultaneously into multiple fragments, which were recomposed in the street as a creative multitude that recovered, at least for a time, the social function of art. The walls and sounds of the cities testified to this. A year after these events and in pandemic mode the visual and sound archives of the explosion return in multiple ways to accompany a constituent process in the making, a process that is experienced in a dual way; from the hope of a democratizing change and/or from the uncertainty and the question that asks, where is the future?

metropolitan gallery



Through physical principles, Arqueología de la luz introduces a poetics of dilution. This work consists of a rectangular modular box made with pieces designed to be 3D printed. It contains a chemical mixture of photoluminescent powder that can absorb and reflect light. Its elements work through a pneumatic system (compressed air) that affects the powder particles to achieve a liquid behavior (fluidization). This structure is synchronized with a slide projector that allows images to be recorded on the dust and then diluted in a cycle that removes and restores the representation of the photographic content.


# image, memory, time, dilution, Tren de la Victoria, Salvador Allende Cristo Riffo (1986) holds a Bachelor' s degree in Arts from the Universidad de Playa Ancha and a Master's degree (c) in Technology and Aesthetics of Electronic Arts from the Universidad Nacional de

Collaborators: Electronic engineer: Ismael Seguel; production: Paula Baeza Pailamilla and Kevin Magne; graphic designer: Andrés Muñoz; analog development: Nelson Vargas Fuentes.

Tres de Febrero, Argentina. His research relates to memory and its relationship

Three modular structures are synchronized with slide projectors and installed side by side showing how photographs get recorded on circular hourglasses that rotate at random times. These images of Chile during the mid-twentieth century are intertwined with contemporary ones. The visual memory of certain historical milestones include the Puerto Montt earthquake, Salvador Allende's campaign, and the land seizure that gave rise to the squatter neighborhood of La Victoria. They are combined with images of abandoned train stations in southern Chile whose failed recovery was promised during Ricardo Lagos’ presidential campaign. As these structures rotate, the images melt and record a new photograph in an infinite loop that unveils, dilutes, and reveals the memory once again.

# image, memory, time, dilution, Tren de la Victoria, Salvador Allende

with technological objects.

Collaborators: Electronic engineer: Ismael Seguel; production: Paula Baeza Pailamilla and Kevin Magne; graphic designer: Andrés Muñoz; analog development: Nelson Vargas Fuentes.

Hacked slide projector, electronics, 3D-printed mechanisms, air

Hacked slide projector, electronics, 3D printed mechanisms, air

compressor, solenoid and MDF

compressor, solenoid and MDF


arqueología de la luz (archaeology of light)

metropolitan gallery


arqueología de la luz (archaeology of light)

metropolitan gallery


TAUTOLOGÍA SIN TÍTULO (untitled tautology)

OCTOBER 11, 2019 - DECEMBER 6, 2019



This exhibition is part of the School of Intuition, an extended program of studies and laboratories of the Santiago Media Arts Biennial. In this edition, the program is articulated through a manifesto developed by Abraham Cruzvillegas, its pedagogical curator, who proposes inspirations and principles for the construction of new knowledge that will lead us towards the intuitive reconnection of the worlds we inhabit.

Mexico participated in the 14th Biennial of Media Arts of Santiago, organized by the Chilean Video Corporation (Corporación Chilena de Video, CCHV), through the exhibition of "Tautología sin título" by Mexican artist Abraham Cruzvillegas. He was invited to be the international curator for the School of Intuition. The Embassy of Mexico in Chile through its 2019 Cultural Promotion Program sponsored his participation.

Cruzvillegas' proposal contemplates an invitation to build a broad intersection between art and different forms of knowing in order to build a dialogue for the exchange of thoughts, realizations, knowledge, games and other kinds of encounter among diverse actors in our university community and the social fabric of our country.

Ambassador Francisco Javier Olavarría and the Head of Cooperation and Cultural Affairs Ximena Gómez Chávez attended the opening event held at the Macchina Gallery of the School of Art of the Pontificia Universidad Católica de Chile in line with one of the main strategies of the Sectorial Program of the Ministry of Foreign Affairs 2020-2024. It aims to promote Mexico through cultural diplomacy that produces and supports impactful initiatives such as Cruzvillegas’ exhibition.

The project consists of the artist sending a series of sketches of very simple structures for the purpose of having collaborators interpret these forms and freely build upon them using local materials. The works created by these groups were made without instructions or suggestions from the artist, with no indications of size, shape, color or layout whatsoever. The exhibition of the pieces was complemented by a series of "activations" that took place during the exhibition, which allowed for this encounter and dialogue among different social actors. The artist attended the opening as one of the exhibition's visitors and came across a group of previously unknown works. This possibility opens up an exercise of real appropriation, in its strictest interpretative sense, without control or regulation, definitively excluding any chance for error.


tautología sin título (untitled tautology)

It is of great importance for the Embassy of Mexico to support these types of initiatives and to have the participation of Mexican artists in events such as these. They help strengthen bilateral relations in the area of cultural cooperation between countries with a solid history of mutual collaboration. In this case the most visible milestones have been precisely those in the world of arts and culture. At present, the Embassy's institutional support is also part of a global agenda, which is to meet the Sustainable Development Goals that seek to ensure the establishment of standards for a dignified life. In order for this to happen, dialogue and openness to diversity become a transcendental experience, as shown in the work of Abraham Cruzvillegas.

macchina gallery


Bocetos para exposición en Galería Macchina 11 Oct - 22 Nov / 2019


I would like to comprehensively communicate my proposal in a way that makes sense not just in conceptual and formal terms, but also in budgetary terms, which I imagine must be limited.
















Abraham Cruzvillegas (Mexico City, 1968) is a Mexican artist. He studied pedagogy at the Universidad Nacional Autónoma de México from 1986 to 1990, during which

Therefore, in an attempt to be consistent with my own discourse and my proposal in general, I’ll start by noting that I usually create projects by trying to use minimal or no monetary resources at all. Instead, I try to gather as much human capital as I possibly can.

time he also participated in the "Friday Workshops" with Gabriel Orozco. His artistic process is constantly fed by his surroundings; his projects are

Furthermore, they all appeal to the participation of local communities, including artists, intellectuals, scientists, academics, students, workers, farmers and volunteers in general, rather than presenting pieces I’ve made singlehandedly. This especially applies to the projects I have done over the last few years that I have presented in many different places.

defined, not by a specific medium, by their interrelationship with the self-construction platform: a concept derived from the precarious and ingenious collaborative construction techniques of the neighbors of the

These projects are generally based on the on-site production of a set of sculptural bodies by the staff of the organizing institution -in this case the gallery in conjunction with the biennial- using local materials, ideally recycled, either from previous exhibitions and others found in the gallery's warehouses and other places, or other found objects from ad hoc searches, or donations from individuals (mainly unused furniture, excluding plastic, aluminum, or drywall.)

Ajusco neighborhood, where he spent his childhood in Mexico City. Cruzvillegas appropriates this term to describe an approach of inventive improvisation and instability that presents change as a permanent state arising from the chaotic and fragmentary nature of life. Through its evolution, self-construction

The creation of these entities arises out of a set of sketches that I send to participants, which I have used for exhibitions in Zurich and Austin and that I will next use in Aspen and Miami. Normally the idea is for the drawings to be freely interpreted, both in their proportions and in the selection and use of materials, in such a way that my participation is limited to making and sending sketches.

has given rise to new approaches such as self-destruction and self-confusion. This process has led Cruzvillegas to explore his own origins and to collaborate with his family and friends in a very personal form of research that results in a constant

This first action requires intense organizational and artisanal effort and appeals to the possibility on my part of not making any decisions so that when the exhibition opens, like the general public, I find myself looking at a group of previously unknown works without any control or regulation on my part, thus totally eliminating any chance for error.

learning process: about materials, landscape, other people and himself. In 2012, he was the fifth laureate of the 16.

Yanghyun Prize and in 2006 he received the Prix Altadis d'Arts Plastiques.

The second part involves a whole different type of work that I usually call management. It involves the activation and use of the space in which the sculptures are located by organized groups of individuals from the local communities mentioned above. Campus Oriente / Escuela de Arte UC Avda. Jaime Guzmán Errázuriz 3300 Providencia, Santiago

Drawings supplied by Abraham Cruzvillegas.


tautología sin título (untitled tautology)

macchina gallery


tautología sin título (untitled tautology)

macchina gallery

Collective La Casa de las Recogidas. Sketch 4.


Detail. La Llunior Collective. Sketch 8 and 9.

tautología sin título (untitled tautology)

macchina gallery


Comunidad Un Espacio (One Space Community): Robinson

La Llunior Collective.

Barría, José David Urdaneta Boscan, Julmary Boscan, Luis

Sketch 8 and 9

Urdaneta, Carlos Lozano, Ester Campaña, Clara Strabucchi, Lina Rojas Zorrilla, Sebastián Preece Rioseco, Manuel Peralta Lorca.

8th grade students of the Cambridge High School Art Workshop:

Sketches 2,8,10 and 14

Rodrigo Uriví (Teacher), Alicia Feng, Felipe Cabezas, Carlos Felix, Javiera Ríos. Sketch 10. P. 375: Ignacio Navarrete & Sebastián Orueta. Sketch 8


tautología sin título (untitled tautology)

macchina gallery


tautología sin título (untitled tautology)

macchina gallery


Participating communities La Llunior Collective; La Casa de las Recogidas Collective; Millalemu Liberated Space; Ignacio Navarrete, Sebastián Orueta; Héctor Vergara, Miguel Maira; Florencia Raffo, Clara Strabucchi; One Space Community: Robinson Barría, José David Urdaneta Boscan, Julmary Boscan, Luis Urdaneta, Carlos Lozano, Ester Campaña, Clara Strabucchi, Lina Rojas Zorrilla, Sebastián Preece Rioseco, Manuel Peralta Lorca; Benjamín Carrasco, María Paz Donoso, Mikela Leguina, Miguel Maira; Samuel Domínguez; Pamela Sánchez, Paulina Jara, Valeria Manríquez, Camila Núñez, Laura Ruminot, Amador Moscoso; 8th grade students of the Cambridge High School art workshop: Rodrigo Uriví (Visual Arts Teacher), Alicia Feng, Felipe Cabezas, Carlos Félix, Javiera Ríos; Construction workers Campus Oriente: Santos Guevara, Esteban Lizama, José Bobadilla, Erick Valderrama; Osvaldo Barreda, Alejandra Silva and Sofía Ramírez, Victoria Muñoz, Francisca González, Ignacia Bruñol, Francisca Guzmán, Josefina Carvallo, Javiera Ramírez. Rosario Vial, Dominga Silva, Fernanda Arentsen; Francisca López, Valentina Donoso, Catalina Henríquez; Staff members of Workshop 1 Campus Oriente: Marcelo Lambert, Sabrina Avila, Martina Mella, Isaac Rodriguez; Joaquín Fuentealba Escobar, Francisca Galvez, Isidora Bustamante, Daniela De La Fuente, Elisa Irarrázaval, Sheilla Cheul; Pedro Albertini, Diego Contardo.

Staff Workshop 1 Campus Oriente: Marcelo Lambert Sabrina Ávila, Martina Mella, Isaac Rodríguez. Sketch 16


tautología sin título (untitled tautology)

macchina gallery



FOCO DE ESCUCHA (focal point of listsening)

OCTOBER 15, 2019 - NOVEMBER 3, 2020

FOCO DE ESCUCHA (FOCAL POINT OF LISTENING) ANA ROSA IBÁÑEZ GUEST CURATOR The idea of the fourth world may have diverse origins, yet its current development continues to be based on contingent aspects that let us conceive of a world where we can integrate digital technologies into social processes, reduce the levels of infoxication, or information overload, and return to a balance in which nature ceases to be a foundation of resources and services. In this reduction process, absence and immateriality become triggers for shifting from a reality where objects seem to define power to one in which we communicate through perception and intuition. Sound -an intangible material- takes on special relevance for the possible contexts that make up “El cuarto mundo” (The fourth world).


Ana Rosa Ibáñez. After five years collaborating independently on the production, coordination and content development of multidisciplinary artistic projects, in 2016bshe decided to deepen her curatorial studies in relation to society and culture at Central Saint Martins

A collection of phonographs and gramophones exhibits the first sound recording and playback implements. Audios, photos and illustrations show how recording has grown over the years up until day.

University, London. She is based in Berlin where she is researching and developing artistic initiatives focused on the study

"Foco de Escucha" turns the attention to the ear, and the mere action of listening is revealed in the face of the hegemony of the visual and the objectual that has predominated in the post-industrial era. In the act of collective listening, a common experience of introspection is proposed that shares the same sonic flow, the perception of silence and volume, of vibration and reverberation as a material of co-existence, of solidarity with the environment in which we live.

Museo del Sonido is an invitation to travel through some of the history of musical recording and playback, reflecting on its impacts on our daily lives, on the media and the creative industries.

and exploration of sound. She is also executive director of the Museo del Hongo.

Through music, trumpeter and composer Jon Hassell unraveled the idea of a fourth world, understanding it from its inception as an encounter between ancestral sounds and the possibilities offered by man-made machines. "Possible music, possible cultures, possible architectures, possible lifestyles, etcetera. It is an idea that can be reduced to the spectrum of possible relationships between individual, tribe and nation in the mass electronic age. It imagines a grid of national boundaries and projects onto this new, non-physical, communication-based geography: tribes of like-minded people [...] This balance between native identity and global identity through multiple electronic extensions is not something that can necessarily be imposed or predicted with," (David Toop, Océano de Sonido (Ocean of Sound), 2016, p. 210). "Foco de Escucha" begins with the album Fourth World Vol. I: Possible Musics made by Brian Eno and Jon Hassell in 1980 and finds its starting point in the decade in which Carlos Ortúzar's sculpture El cuarto mundo (1972) was created, the work that inspires this version of the Biennial as a warning device for the crises we are going through today.

We carry out activities that dig into and complement the topics addressed in the museum. These include talks, scientific workshops, fairs and festivals, which includes our participation in the 14th Biennial of Media Arts. We were invited to become the "Foco de Escucha" (Focal Point of Listening) of the Biennial, hosting three sound works for a given period of time. The space was designed so that nothing would interrupt the experience of listening to the pieces, ensuring that sound would remain the principal focus. The space had to be comfortable and with adequate volume to envelop visitors and guide them effortlessly through this experience. We opened on Tuesday, October 15th with a corporeal and sonic performance by artists Nico Trompe and Vale Wong, and we were ready to receive visitors from that day forward. We started with Brian Eno, John Hassell and their work Fourth World Vol 1: Possible Musics. However, we were never able to realize the full reach that this exhibition could have had because the social outburst that happened on Friday, October 18th in Chile, so we had to periodically close our space during this period. The people who got a chance to hear the pieces had a wonderful experience and shared many beautiful remarks with us about it. The museum staff learned a great deal about sound and reflection in terms of the Biennial's theme. We hope to continue to be part of the Biennial circuit from our domain of sound.

The coincidence in the names of both projects allows us to imagine a time when international artistic movements were already dreaming of and inhabiting a world where machines were at the service of humanity. The sonic hybrid presented by both artists combines a variety of sounds collected from their natural environments, combined and expanded with the possibilities offered by the new electronic machines of the time. As we cross the door that introduces us to the universe of possible musics, the sound path proposed in this space approaches the notion of the fourth world and poses the question: How do the new and future landscapes sound?


foco de escucha (focal point of listening)

museum of sound


FOURTH WORLD VOL. 1: POSSIBLE MUSICS (CON JON HASSELL), AMBIENT 3: DAY OF RADIANCE (CON LARAAJI), AMBIENT 4: ON LAND BRIAN ENO [UK] Fourth World Vol. I: Possible Musics is a sound document that differs from the established World Music, daring to break the limits of the musical fusions we experience today. Through this work and others of the same era, music theory has grown to reach a wider audience. It continues to nurture contemporary sound culture.

# ambient, sound, listening, new age, experimental music Brian Eno (Reino Unido, 1948) has been an essential figure in popular and

In his solo career, Brian Eno completed a series of extremely eclectic albums, uniting electronic ambient with the acoustic universe, and was the one who coined the term ambient music to refer to the listener's perception of the surrounding environment. "Ambient music must be able to accommodate many levels of auditory attention, without forcing any particular one. It has to be ignorable as well as interesting at the same time," (Iñigo López Palacios, “This British man has defined a good part of 20th century pop without ever playing a single instrument,” El País, August 1, 2017).

experimental music since the 1970s. As a musician, producer, visual artist and


The name Dream Theory in Malaya comes from an essay written by anthropologist Kilton Stewart. In 1935 he visited an aboriginal tribe of the Malayan highlands called the Senoi whose happiness and well-being were linked to a tradition in which dreams were discussed every morning. The Semelai, a tribe close to the Senoi, lived in the largest swamp in Malaya. A recorded fragment of the joyful, rhythmic splashing in the swamp was the essential material for this composition, and serves as the thematic guide for the whole album.

# water, sound, trumpet, experimental music, ambient music Jon Hassell (United States, 1937) Continuing his Western training in composition and trumpet, Jon Hassell discovered an Eastern approach to

theorist, his work has helped define the

music under the guidance of the raga

field of ambient music, contributing new

master, Pandith Pran Nath. The creation

sounds to rock, pop and electronic music.

following this experience is a mysterious

A self-described "non-musician", Eno

and unique hybrid of ancestral and digital

has helped introduce unique conceptual

music, a style he called Fourth World.

approaches and new recording techniques to contemporary music.

Field recordings, electronic sounds

Field recordings, electronic sounds.

Ambient 3: Day of Radiance (49 minutes, Editions EG, 1980)

Fourth World Vol. 2: Dream Theory in Malaya (36:25 minutes, Editions EG, 1981)

Ambient 4: On Land (44:35 minutes, Editions EG, 1982) Fourth World Vol. 1: Possible Musics (45:05 minutes, Editions EG, 1980)


foco de escucha (focal point of listening)

museum of sound



foco de escucha (focal point of listening)

museum of sound




In her most recent pieces, Audrey Chen returned to her initial exploration of the voice as a primary instrument, delving into non-linear narratives. Stretching the sonic material into a continuum, the artist highlights the overlooked moments in between, creating a ritual that unfolds beyond the gravity of language.

# voice, machines, cello, futurism, fiction Audrey Chen (United States, 1976) began her relationship with sound through the

With RUNT VIGOR, the artist attempts to find languages that incorporate ancestral, personal, historical and dreamlike memory, oscillating between the fields of consciousness and the unconscious.

cello and voice 30 years ago. She has been working primarily as a soloist for

Cyclone (1976-77) The original inspiration for the creation of this piece came from the artist's fascination with the weather. This obsession served as fuel to create an acoustic environment based on the idea of the tornado and its movement, as well as the psychological effect it has on those who witness it. The sound itself is thus conceived as a spiral or vortex, achieving such a clearly defined curve that it produces a mental image of the phenomenon itself.

more than a decade. Voice, cello and analog electronics are essential elements in her creations. She lives in Berlin.

# voice, sound, environment, natural elements, overlap Joan La Barbara (United States, 1947). Joan La Barbara is an academytrained singer and an influential figure in experimental music. Her work as

Urban tropics (1988) This piece was designed as a sonic portrait of Miami, blending Latin flavor with the tropical culture of the birds and beasts of the jungle. The voice is used as melodic punctuation, adding Latin percussion and parrots, monkeys and waterfall sounds.

a composer, performer and sound artist explores the human voice as a multifaceted instrument, expanding traditional boundaries to develop a unique vocabulary of circular singing techniques, ululation and glottal strokes that have

The river also changes (2017) This work proposes searching for a space that is made up of different times and locations that are interrelated without the need for words. The overlapping of live voices and sonic atmospheres grows into a mosaic of multiple voices, instruments and natural sounds. It is a landscape in constant transformation where everything is permeable.

Voice, cello and machines

Voice, instruments, effects, electronic and natural sounds, sonic environment.

RUNT VIGOR (42 minutes, Karl Records Berlin, 2018)

Cyclone (39:39 minutes, 1976-77)

become her signature sounds. In the mid-1970s, she began creating more structured compositions, some of which include electronic sounds and layered, edited vocals.

Urban tropics (14:14 minutes, 1988) The river also changes (34:06 minutes, 2017)


foco de escucha (focal point of listening)

museum of sound




Sonchapu (1997) Around 60 musical instruments from the collection of the Museo Chileno de Arte Precolombino from various pre-Columbian cultures of the Andes and Central America, such as Moche, Chavín, Chorrera, Nazca, Vicús, Jamacoaque, Maya and many others were used in the making of this album. They mainly include ceramic flutes and metal rattles. Each one is a singular piece and represents a complex, distinct, and unique musical universe, dating from 4,000 to 500 years ago. They come from places as disparate as the tropical coast of Ecuador, the mountains of Peru, the desert of northern Chile, the cold forest of southern Chile, and many others.

# pre-Columbian, America, instruments, ceramics, wind La Chimuchina (Santiago, 1993) The members of La Chimuchina define their work as "a mix of research and musical interpretation". The group operates intermittently and has carried out remarkable efforts around disseminating pre-Columbian

Through this sonic reclamation, the collective shows the compositional simplification that the peoples of the South American continent went through when confronted with European civilizations, which adapted their sounds to harmonize with the dodecaphonic scale, and instruments like the piano and guitar. The original sounds of the Andes were used to relate directly to the cosmos and the chaos contained in it.

genesis is linked to archaeological research, and professionals from research fields such as anthropology, design, ethnomusicology and popular music have shared space in its creation.

field recordings, voices, electronic sounds, machines Soundwalk collective was founded by Stephan Crasneascki (Ukraine) in years, artists Simone Merli (Italy), Dug Winningham (USA) and Kamran Sadeghi (Iran) joined the collective. The soundwalk concept refers to the act of "drifting" or focusing on the action of listening

Khandroma (2016) Made in conjunction with sound artist Francisco López, this work uses the sound of waving prayer flags, blessings being chanting, the echoes of the wind in the valleys of Nepal, and the relationship between sound and silence to transport us to the state of enlightenment that Tibetan Buddhists seek to achieve. It was named Khandroma after the spiritual muse of this philosophy.

Arce, Claudio Mercado, Norman Vilches, Víctor Rondón and Cuti Aste.


2000 in New York City. In subsequent

Transmissions (2017) This work arose from recordings made at natural and artificial locations collected during long periods of research, travel and fieldwork in the Mediterranean basin, the Black Sea, the Rub'al Khali desert and the Odessa region.

instruments and musical forms. Its

It is comprised of artists José Pérez de

Mapocho (2017) This is a reflection on the soundscape of the city of Santiago that currently overshadows the sound of the river. The Mapocho River played a leading role for the Inca communities that settled in the mountain range opposite Santiago, considering the close relationship of indigenous peoples with their environment. The "chimuchines" are inspired by the course of the river from its source to its mouth, creating a composition that seeks to pay tribute to it.

Death Must Die (2018) This work traces the course of a single day in the city of Varanasi, India. The composition attempts to emulate the vibration of Kashi that drives the inwardness that alters our perspectives as we find ourselves in the stream of human life. A vibration dedicated to eliminating the distinction between human and non-human, between life and death, between light and darkness.

to the environment where one hears not only the sounds of nature, but also the sounds of the people and objects that inhabit it. This work methodology combines anthropology, ethnography, non-linear narrative, psychogeography and the observation of nature, commonly

Sons of the Wind (2014) Exile and movement are central to the identity of the Roma people. Their history is written in the universal language of music. It is spontaneously transmitted from generation to generation, ignoring geographical boundaries. The collective followed the course of the Danube River and the music of these peoples, which combines Eastern and Western influences, recording heart-wrenching songs, melancholic violins, the ringing of cymbals and the brave tones of brass bands.

done during extended research trips and fieldwork.

Angry God: Ayahuasqueros (2012) In May 2012, the collective traveled to the heart of the Amazon to document the ancestral chanting of the rituals of the Ayahuasquero, the master shaman and practitioner of plant medicine. In this ceremony, the shaman consumes a potion of Ayahuasca, the "vine of souls," which provokes a powerful psychedelic experience. This piece documents how the Ayahuasquero inhabits the soundscape, where the healing Icaros songs become a visceral and spellbinding listening experience.

Sonchapu (1 hora, 6 minutos y 17 segundos, 1997)

Ambient sounds, vocals, electronic machines, synthesizers.

Mapocho (42 minutos, 2017)

Death Must Die (33 minutes, 2018) Transmissions (49 minutes, 2017) Khandroma (15 minutes, 2016) Sons of the Wind (20 minutes, 2014) Angry God: Ayahuasqueros (40 minutes, 2012)


foco de escucha (focal point of listening)

museum of sound




Musique Hydromantique (2017) Hydromancy is a method of divination through water. Unpredictable bubbles and liquid waves become oracles. Evaporation and acoustic space play constantly at random.

# ritual, water, bowls, resonance, ceramics

Tomoko Sauvage was born and raised in

Musique Hydromantique is the second solo album by the artist who has recorded many years of performances with water bowls. She has investigated the sound and visual properties of water in various states, as well as that of ceramics combined with electronics. Water droplets and bubbles are some of the elements she experiments with to generate a fluid sound.

Yokohama, Japan. After studying piano in New York, she became interested in the work of Alice Coltrane and Terry Riley, leading to the study of Hindustani music improvisation. For the last decade, the French/Japanese

Ombrophilia (2009) Continuing the exploration of the sound of water droplets inside the bowls, the artist addresses another liquid concept - "ombrophilia" - which refers to the love of rain.

Nicho (2017) The inspiration for this work emerged during the artist's research in the natural environment of Tulum, Mexico. It tells the story of the heroic twins Hunahpu (Junajpu) and Xbalanque (Xb'alanke) who seek revenge for the death of their father and succeed in defeating and sacrificing Xibalba, the Lord of the Underworld. The twins are portrayed as complementary forces; life and death, heaven and earth, day and night, sun and moon. Duality occurs when the masculine and feminine represent both sides of the same entity.

artist has been working on a "natural synthesizer" of her own invention - water bowls - combining water, ceramics, hydrophones (underwater microphones)

# distortion, voice, synthesizer, body, sound

Baby Vulture (Daniela Huerta). Having been trained as a sculptor, Daniela Huerta shapes sound waves constructing a dark space/time that she combines with archival work, performances, sound

Mia (2018) In this work the artist immerses herself inside the body, proposing a sonorous journey beneath the skin. The screeching of the bloodstream, the rhythm of breathing, the vibration of the tissues and the reverberation of the bones generate an atmosphere of suffocation that explores the limits of the body as it is invaded by external influences.

and electronics. By means of primordial

and image production. Her practice explores the possibilities of the human voice, decontextualizing it with tools of sampling and electronic distortion, creating stories that transport the listener to illusory and sometimes gloomy landscapes.

elements that are augmented with technology, Sauvage's playful gestures subtly enter the realm of ritual. Her work is about contemplation, intonation and the connection of the material and immaterial, maintaining a fine balance between uncertainty and mastery of her instruments.

Ceramic bowls with water, hydrophones, stones, springs, and sound machines.

Modular synthesizer, voice, electronic machines, sound files

Musique Hydromantique (40 minutos, 2017)

Nicho (19 minutes, 2017)

Ombrophilia (40 minutos y 8 segundos, 2009)

Mia (10 minutes, 2018)


foco de escucha (focal point of listening)

museum of sound



JARDINES HUMANOS (human gardens)

OCTOBER 12, 2019 - JANUARY 26, 2020



This exhibition is an invitation to understand ourselves as a diverse species under constant mutation through a conversation between a video-essay by Chilean artist Francisco Navarrete Sitja and a selection of books from the patrimonial collection of the Biblioteca Patrimonial Recoleta Dominica.

What would the world be like if the colonizing instinct had been lower? The 14th Biennial of Media Arts and the Biblioteca Patrimonial Recoleta Dominica (BPRD) joined forces in the search for this and other answers. The point of convergence was the exhibition "Jardines Humanos" (Human Gardens) comprised of the work Tu materia es la confluencia de todas las cosas (Your matter is the confluence of all things), a video-essay by visual artist Francisco Navarrete Sitja and a bibliography that sought to put in tension the cultural canon around the vestiges and traces of the nineteenth-century concept of race and identity/imaginary constructions present in sociocultural expressions up to today.

Chronicles of scientific travels and evangelization, human cartographies, poetry and national emblems combine to question our history and the way our links with the territory have been narrated. The junction we propose between the arts of books and of mediality seeks to reveal the Western perspective that has created a world order. We want to flip this viewpoint in order to evoke a renewal of the questions regarding our very selves. What is difference called? How is diversity experienced? Overlaying identity narratives and colonial imaginaries on landscapes, this exhibition takes its name from a song by Violeta Parra, "Jardines Humanos" (Human Gardens) to flow beyond the boundaries imposed between nature and culture. We seek new current and historical narratives that liberate our relationships with the places we inhabit. Migration is experienced here as a process of transplantation and acclimatization shared by all the species that populate this planetary garden.

That is why it was inaugurated on October 12th, the day that commemorates the "Encounter between two worlds", formerly known as "Columbus Day" or the "Discovery of America"; a sensitive date if we think about homogeneous identity parameters and the complex configuration of otherness. On opening day attendees spontaneously laid down on the floor to better view Navarrete Sitja's video, manifesting one of the main objectives of the BPRD, which is to function as a place that is alive and inhabited by surrounding communities. The Biennial also practiced the concept of respecting nature by creating a montage with ethical materials that were all recycled and reusable. These lessons reflect the basic premise of this artistic event. After the inauguration, the so-called social outburst happened in Chile, spontaneously connecting to the reflection that the Biennial had proposed regarding the sociocultural disaster in which we humans find ourselves. We thank the organizers of the 14th Biennial of Media Arts for including our Library and bringing in so much awareness and diverse reflections around art and science, core themes in the organic identity of our institution, giving us the opportunity to build new interdisciplinary perspectives that bring our collections into closer connection with the public.


jardines humanos (human gardens)

recoleta dominica heritage library


TU MATERIA ES LA CONFLUENCIA DE TODAS LAS COSAS (YOUR MATTER IS THE CONFLUENCE OF ALL THINGS) FRANCISCO NAVARRETE SITJA [CL] Video-essay through which the artist takes ownership of literary descriptions of Chile's territory to wonder to what extent is human identity -whether collective or individual- determined by its natural environment?

# Chile, determinism, territory, landscape, material nature, identity, nationalism, extractivism, colonialism, garden of Eden,

The work is composed of a recited text, the visual projection of a series of fragments of different 3D landscape prototypes found online, and the conjugation of a series of sounds composed from geological materials and climatic expressions associated with Chile’s national imaginary.

territorial imaginary Francisco Navarrete Sitja (Santiago de Chile, 1986) holds a Bachelor's degree in Arts and a Master's degree in Visual

Within the monologue emerges the inner voice of an imagined community that awakens to the question of its own identity and speculates on the determinism of nature. Using the images of the hegemonic narrative in Chile, he reviews the arsenal of metaphors that serve as defensive weapons of an imagined frontier to mark the territory of state appropriation, the submission of the human and the non-human, the fencing off of nature that submits itself to the structural garden that asserts its territorial and identity control.

Arts from the Universidad de Chile. He is currently on scholarship at the Museu d'Art Contemporani de Barcelona (MACBA) participating in the Independent Study Program PEI (2017 - 2018). His artistic practice reflects on the processes

Digital animation video, single channel, 20', 2019.

of contemplation, construction, and irruption of new temporalities linked

Tu materia es la confluencia de todas las cosas is part of a project linked to the program for South America COINCIDENCIA - Swiss Foundation for Culture Pro Helvetia. The work was produced during an artist’s residency at La Becque - Fondation Françoise Siegfried-Meier in association with Pro Helvetia - Swiss Arts Council.

to working with images, material nature and territorial representation. By superimposing reality and fiction, the material and the immaterial, the natural and the artificial, the local and the global, he speculates on historical narratives

Collaborators: Carmen García, AnaRosa Ibáñez, Paula Gabriela Núñez, Cristóbal Bonelli, Catalina Valdés, Ana Matilde Cordero, Luz Muñoz, Andrés Núñez, Amarí Peliowski, Sebastián Jatz, Martí Peran, María García Ruíz, Carlo Mora, Rodrigo Booth, Cristian Valenzuela, Mariairis Flores, Juan David Murillo, Amparo Prieto, Francisca de la Riva, Javier Antonio Soto, Andrés Gallardo.

associated with landscape and life in community. Through his work he challenges the symbolic dimension of certain material expressions and approaches them as enablers of realities and new horizons of meaning. He works with various technical devices as shapers of our ways of perceiving, understanding, positioning and living in the world. He has been living and working in Spain and Chile since 2015.


jardines humanos (human gardens)

recoleta dominica heritage library


SELECCIÓN DE LIBROS BIBLIOTECA PATRIMONIAL RECOLETA DOMINICA (BOOK SELECTION FROM THE BIBLIOTECA PATRIMONIAL RECOLETA DOMINICA) CAROLINA NAHUELHUAL, RAQUEL ABELLA, CATALINA ARAVENA, JOAQUÍN SANDOVAL During the nineteenth century, the rise of travel literature, illustrated logs and publications by naturalists, missionaries, tourists and travelers, led to the creation of a complete image of the world from an imperialist perspective. Through the domination of the territory and the classification of humans and non-humans, this Eurocentric perspective began taking shape, imposing a unique way of being upon both the peoples of continents subjected to nineteenth-century colonialism and on the citizenry that was beginning to form into modern nations. This order helped organize life on the basis of hierarchies that served the fluid functioning of an extractive and industrial system, installing capitalism as a sort of second nature. The theory of the evolution of the species, for example, went from being a scientific hypothesis to a structuring story of imaginaries, practices of government and domination that brought the diverse range of human life into a racist logic that believed its culmination was expressed in the white man. One idea is reiterated in the illustrations of the books presented here: the coexistence of all species in a shared environment can only be conceived in terms of a utopia. The enclosed, ordered, and above all unchanging garden was the way in which Western thought viewed diversity. Mastering this garden implied, therefore, having power over representation. This meant that the knowledge and practices of coexistence between humans and nature as developed by any given culture anywhere could be deactivated. This imaginary structure has survived into the 21st century, imposing itself violently on any movement that fights back against the capitalization of the human: migrants, women, blacks, indigenous people, human rights and environmental activists... all those who seek to generate changes in it are systematically marginalized, silenced, oppressed, extinguished. Through this exhibition bringing together art and history we invite you to reflect on the possibilities of humanity in motion, which transforms the identities imposed from the West to allow the coexistence of diverse people, changing, growing and moving freely in the planetary garden.


jardines humanos (human gardens)

recoleta dominica heritage library

Pablo de Mendibil

Andrés Bellessort

Vies des saints. Tomo II.

Baptistin Poujoulat

Descripción abreviada del mundo. Inglaterra, Escocia e Irlanda. Tomo II

La sociedad japonesa

Paris: Garnier Frères, Libraires - Éditeurs, 1854.

Récits et souvenirs d’un voyage en orient.

Londres : R. Ackermann, Strand, 1828.

Barcelona: Montaner y Simón, Editores, 1905.

REF BPRD: 235.2 / V665s / 1854 / T.2 / R0622 Élisée Reclus

Tours : Alfred Mame et Fils, Éditeurs, 1864.

REF BPRD: 914.1 / M538 cI / 1828 / V.2

REF BPRD: 915.204 / B442cS / 1905

Don Francisco Fernández Villabrille

William Smith

Nouvelle Géographie

Baptistin Poujoulat

El Universo o Las Obras de Dios

Voyages autor du monde. Tomo I.

Universelle: Amérique Boréale

Récits et souvenirs d’un voyage en orient

Madrid y Paris: Establecimiento Mellado, 1854.

Paris: Librairie de L’encyclopédie du XIX siècle, 1841

Paris: Librairie Hachette et Cie, 1890.

Tours : Alfred Mame et Fils, Éditeurs, 1864.

REF BPRD: 502 / F363 / 1854

REF BPRD: 910.4 / S655.v / 1841

REF BPRD: 910 / R299 / 1876 / V.15

REF BPRD: 915.04 / P871.O / 1864

Carlos E. Porter

Ildefonso Antonio Bermejo

Nicolás Palacios

Asa Smith

Ciencias Naturales, Antropológicas y Etnológicas. Tomo I

Viage ilustrado en las cinco partes del mundo. Tomo I.

Raza Chilena : Libro escrito por un chileno y para los chilenos

Primer Libro de Geografía de Smith ó Geografía elemental dispuesta para los niños

Santiago de Chile: Imprenta, Litografía y Encuadernación Barcelona, 1911.

Madrid: Establecimiento topográfico de Mellado, 1852.

Santiago de Chile: Editorial Chilena, 1918.

Nueva York : D. Appleton y cia., 1857.

REF BPRD: 508.1 / C749.D / 1910

REF BPRD: 910.8 / B516.V / 1852 / V.1

REF BPRD: 983.01 / P153.R / 1918 / V.1

REF BPRD: 910 / S654cG. / 1857

Carlos E. Porter

Ildefonso Antonio Bermejo

A. Jakob

Asa Smith

Ciencias Naturales, Antropológicas y Etnológicas. Tomo II

Viage ilustrado en las cinco partes del mundo. Tomo II.

El hombre : Rey de la creación

Primer Libro de Geografía de Smith ó Geografía elemental dispuesta para los niños

Santiago de Chile: Imprenta, Litografía y Encuadernación Barcelona, 1911.

Madrid: Establecimiento topográfico de Mellado, 1852

Friburgo de Brisgovia: B. Herder, 1895.

Nueva York : D. Appleton y cia., 1856.

REF BPRD: 508.1 / C749.D / 1910

REF BPRD: 910.8 / B516.V / 1852 / V.2

REF BPRD: 572.9 / J11 / 1895

REF BPRD: 910 / S654cG. / 1856

Carlos E. Porter

William Smith

A. De Quatrefages

J.B. Eyriès

Ciencias Naturales, Antropológicas y Etnológicas. Tomo III

Voyages autor du monde. Tomo I.

Les pygmées

Voyage pittoresque en Asie et en Afrique

Santiago de Chile: Imprenta, Litografía y Encuadernación Barcelona, 1911.

Paris: Librairie de L’encyclopédie du XIX siècle, 1841

Paris: LibrairieJ.-B Baillière et fils, 1887.

Paris : Furne er cie, libraries - éditeurs, 1841.

REF BPRD: 508.1 / C749.D / 1910

REF BPRD: 910.4 / S655.v / 1841

REF BPRD: 573.8 / Q2.p / 1887

REF BPRD: 915 / E98.V / 1841

J.J. Virey

Lorenzo Campano

Federico de Hellwald.

Pablo Jouhanneaud

Historia natural del jénero humano. Tomo I.

Viajes a las cinco partes del mundo.

La tierra y el hombre: Descripción pintoresca de nuestro globo. Tomo I.

Álbum de las misiones ó Colección pintoresca

Barcelona: Impr. De A. Bergnes y Compañia, 1842.

Paris y México: Librería de Ch. Bouret, 1884.

Barcelona : Montaner y Simon, editores, 1886.

Paris: Librería de Rosa y Bouret, 1859.

REF BPRD: 572.9 / V815 / 1842

REF BPRD: 910.4 / C186.V / 1844

REF BPRD: 911.3 / H476cT / 1886 / V.1

REF BPRD: 910.4 / S655.v / 1841

E. V. Gonzenbach

G.B.B. Eyries

Federico de Hellwald.

Victor Gebhardt

Viaje por el Nilo.

Storia di naufragi ovvero raccolta delle piu’ interessanti relazioni di naufragi

La tierra y el hombre : Descripción pintoresca de nuestro globo. Tomo II.

La tierra santa. Tomo I

Barcelona: Montaner y Simón, editores, 1890.

Paris: Librairie de L’encyclopédie du XIX siècle, 1841.

Barcelona : Montaner y Simon, editores, 1886.

Barcelona: Espasa y compañia, editores, [1878 - 1879]

REF BPRD: 916.204 / G643cN / 18909

REF BPRD: 910.453 / D419cN / 1821

REF BPRD: 911.3 / H476cT / 1886 / V.2

REF BPRD: 933 / G293 / [1878 – 1879] / T.1 /R0614

Alexandre de Humboldt

Roberto Lagos

Pablo de Mendibil

Victor Gebhardt

Tableaux de la Natur

Historia de las misiones del colegio de Chillán

Descripción abreviada del mundo. Inglaterra, Escocia e Irlanda. Tomo I

La tierra santa. Tomo II

Paris: Librairie de Firmin Didot Freres, 1850.

Barcelona: Herederos de Juan Gili, 1908.

Londres : R. Ackermann, Strand, 1828.

Barcelona: Espasa y compañia, editores, [1878 - 1879]

REF BPRD: 551.4 / H919 / 1850 / V.2

REF BPRD: 266.203 / L177.H / 1908 / V.1

REF BPRD: 914.1 / M538 cI / 1828 / V.1

REF BPRD: 933 / G293 / [1878 – 1879] / T.2 /R0614

A. De Quatrefages

Vies des saints. Tomo I.

Rafael Errázuriz Urmeneta

Mariano Felipe Paz Soldán

Histoire Générale des races humaines

Paris: Garnier Frères, Libraires - Éditeurs, 1854.


Atlas Geográfico del Perú

Paris: A. Hennuyer, Imprimeur- Éditeur, 1889.

REF BPRD: 235.2 / V665s / 1854 / T.1 / R0622

Santiago de Chile : Imprenta Barcelona, [S.F.].

Paris: Impresores del Instituto de Francia, 1865.

REF BPRD: 914.8 / E73.e / [S.F.]

REF BPRD: 918.5 / P348.A / 1865 / R1302

REF BPRD: 572.9 / Q2 / 1889


jardines humanos (human gardens)

REF BPRD: 915.04 / P871.O / 1864

recoleta dominica heritage library


M. Dumont D’urville

Martínez Vigil

Viaje Pintoresco al rededor del mundo. Tomo I

Curso de historia natural, fisiología é higiene

Barcelona: Imprenta y librería de J. Oliveres, 1841.

Madrid : Establecimiento topográfico de A. Pérez Dubrull, 1886.

REF BPRD: 910.4 / D893cV / 1841 / V.1

REF BPRD: 933 / G293 / [1878 – 1879] / T.2 /R0614

M. Dumont D’urville

Eduardo Chao

Viaje Pintoresco al rededor del mundo. Tomo II

Museo Pintoresco de Historia Natural

Barcelona: Imprenta y librería de J. Oliveres, 1841.

Madrid : Imprenta de Gaspar y Roig, 1852.

REF BPRD: 910.4 / D893cV / 1841 / V.2

REF BPRD: 91 / VI / 1

M. Dumont D’urville

Élisée Reclus

Viaje Pintoresco al rededor del mundo. Tomo III

Nouvelle Géographie

Barcelona: Imprenta y librería de J. Oliveres, 1841.

Universelle: Amérique du sud Paris: Librairie Hachette et Cie, 1890.

REF BPRD: 910.4 / D893cV / 1841 / V.3

REF BPRD: 910 / R299 / 1876 / V.18

Rafael Errázuriz Urmeneta Escandinavia Santiago de Chile : Imprenta Barcelona, [S.F.]. REF BPRD: 914.8 / E73.e / [S.F.]

Lodovico Menin Il costume di tutti i tempi e di tutte le nazioni Medio Evo REF BPRD: 391 / M545 / 1833 /T.2. V.II / R0988

Lodovico Menin Il costume di tutti i tempi e di tutte le nazioni Parte Antica REF BPRD: 391 / M545 / 1833 /T.1. V.II / R0988

Lodovico Menin Il costume di tutti i tempi e di tutte le nazioni Parte Moderna REF BPRD: 391 / M545 / 1833 /T.3. V.II / R0988

José Agustín Gómez Impresiones de viaje de un chileno Santiago de Chile : El Independiente, 1889. REF BPRD: 918 / G634.I / 1889

A. Ysabeau Physiognomonie et Phrénologie Paris : Garnier Frères, libraires – éditeurs. REF BPRD: 92 / VIII / 17


jardines humanos (human gardens)

recoleta dominica heritage library


jardines humanos (human gardens)

recoleta dominica heritage library


SED (thirst)

NOVEMBER 13, 2019 - JANUARY 12, 2020

SED (THIRST) DAN CAMERON [US] GUEST CURATOR With approximately 60% of the human body composed of water and over 70% of the earth's surface covered by it, what does the fact that water is the element through which we are gradually making our planet an unsuitable place to live say about us as a species? Whether the symptom is rising sea levels, desertification, pollution or drought, responsibility for jeopardizing water as a vital resource lies directly on our reckless and irresponsible approach to its use and management. Once upon a time drinking water may have been considered infinite and self-replenishing, but the scientific consensus of the last fifty years is that this is as fictitious as a fairy tale. The difficult and unavoidable truth is that our continued growth as a species is consuming far more resources than what can be replaced, leading to the extinction of countless species, which may well at some point include our own.


Dan Cameron (1956) was Chief Curator of the Orange County Museum from 2012 to 2015. In 2006 he created the Prospect New Orleans Biennial, where he worked until 2011. From 1995 to 2005 he was chief curator at the New Museum in New York, where he developed numerous group exhibitions such as "East Village USA" and "Living inside the Grid" and many solo exhibitions dedicated to artists such as Martín Wong, William Kentridge,

Diez, and others. As an independent curator he has organized exhibitions that brought him international acclaim such as "El arte y su doble" (Fundación Caja de Pensiones in Madrid, 1987), "El jardín salvaje"

Since his earliest video works, Foschino's primary artistic focus has been on the observation of nature, whether in the form of sweeping panoramas of glaciers, country backyards with chickens wandering around, or collective human behavior in cities. Foschino employed similar strategies here to explore water as vapor, ocean, waterfall, sweat and snow. The exhibition space has been intentionally left semi-dark in an effort to draw in the visitor's gaze between installations and to allow a common thread to emerge in each individual work.

(Fundación Caja de Pensiones, Barcelona, 1991); "Cocido y crudo" (Museo Nacional Centro de Arte Reina Sofía, Madrid,


In this 14th edition, the Biennial focused on thinking about and imagining "The fourth world, a place that allows us to reflect on the current state of the relationship between humans and the ecosystem" in tune with the exhibition "SED" by national video artist Gianfranco Foschino, curated by North American Dan Cameron. This exhibition was the last to be presented at the Matucana 100 Visual Arts Gallery before its temporary shutdown due to Covid-19. In "SED" water was considered through the lens of nine works that presented it in its different states, emphasizing the intimate relationship with the planet. This was done through attractive audiovisual pieces in Foschino's characteristic observational style.

1995) and many others. He participated as artistic director of the 8th Istanbul Biennial (2003) and as co-curator of the 5th Taipei Biennial (2006). He has published hundreds of texts in books,

A key component of "SED" was the Center for Water Studies (CEA). Despite having a separate entrance, it served throughout the exhibition as a meeting point for discussions, workshops, concerts and screenings, all of which related directly to the underlying theme of the exhibition. In the spirit of opening up public reflection on these critical issues, the discursive character of the CEA is intentionally conceived in direct contrast to the more impressionistic sensations generated by the works with the hope that viewers will move freely between the two spaces.

Therefore, our collaboration with the 14th Biennial of Media Arts responds to our intention to continue strengthening the cultural fabric of our country, a growing network that consistently incorporates relevant actors.

Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández

“SED” was chosen as the title of this exhibition featuring eleven recent works by Gianfranco Foschino because of the artist's deep-rooted conviction that art can address this planetary crisis by offering viewers perceptual tools that serve to build collective insights into the profound implications of the role of water in our lives.

The objective of the Matucana 100 Cultural Center and its area of Visual Arts is to create platforms for the development and promotion of contemporary art. It has shared the work of artists, curators, managers and multiple agents in the areas of art and culture and created spaces for debate, reflection and education by supporting creators and respecting their creative independence. It has also sustained a relationship with audiences at the local level and on several occasions at the national level, too.

The first forums held at the Center for Water Studies arose directly from the exhibition and were organized in conjunction with it. The purpose is to raise consciousness about water through the arts, the sciences, education and the various territories.

catalogs and magazines and has given numerous lectures and conferences in museums and universities around the world, as well as teaching in New York City.

sed (thirst)

This recent exhibition is an example of our interest in interdisciplinarity, the relational and the crossover between art, ecosystems and new technologies. We believe this is in tune with the Corporación Chilena de Video that organized this 14th Biennial, which Matucana 100 was also a part of.

matucana 100 cultural center


CENTRO DE ESTUDIOS DEL AGUA (CENTER FOR WATER STUDIES) FRANCISCA FERNÁNDEZ CANO, GIANFRANCO FOSCHINO, SEBASTIÁN DE LA FUENTE DIRECTORS The Centro de Estudios del Agua (CEA, Center for Water Studies) is an independent and collaborative platform that promotes a Water Culture for the Arts, Sciences, Education and Territories. The editorial practice, the creation and dissemination of contents, and the programming of meetings, residencies and exhibitions are established as points of contact at the crossroads of understanding, experience and knowledge with the goal of raising awareness about this vital element from the ethics of coexistence. We understand Water Culture as the set of ways and means used for the satisfaction of fundamental needs for life (human and non-human), including what "is done with water, in water and by water", and which is manifested in the arts, sciences and humanities, in ancestral beliefs and wisdom (cosmovision, knowledge), in symbolic creations, in community values and in technological and material practices for the defense of water and land. Days after the social outburst over a three-month period the CEA organized a series of activities at the Matucana 100 Cultural Center as part of the "SED" exhibition by Gianfranco Foschino curated by Dan Cameron. Forums were held alongside this, namely "Tierras de Agua", "Aguas de Santiago", "Carta del Agua" and "Plataformas y Editorialidad" that had the participation of over 20 guests (academics, artists, professionals, poets, editors, representatives of institutions and civil organizations, and others). Other activities included the "Agua Libre" artist residency, the "Acciones Colaborativas por el Agua en Chile" meeting, workshops with students and neighbors, routes along the Mapocho River, a documentary series, poetry readings and five talks with artists and curators. The closing event was the "Sonidos de Agua" ("Sounds of Water") event, which brought more than 400 people together.

Poster of Centro de Estudios del Agua, quince.estudio, 2019


sed (thirst)

matucana 100 cultural center



On the Antarctic continent all time zones merge. Time ceases to aspire to that metaphor of fleetingness or flight representing that which slips away, but neither does it stop. Instead it turns on itself in a circle, the polar circle.

Gianfranco Foschino is a key figure in the new Chilean generation of artists, recognized mainly for his video installations; works presented in real time

In Fildes Bay on King George Island of the South Shetland Archipelago, the Chilean Antarctic base Eduardo Frei Montalva hosts a civilian population center known as Villa Las Estrellas. The number of inhabitants varies greatly between winter and summer. Scientists arrive in summer, while during the cold months only those who provide continuity to the settlement in this territory remain. This piece is organized as a diptych and the color white functions as a temporal marker. Only a strip of sea can be seen while the horizon leaves just an edge of the sky. Although in the second video of Villa Las Estrellas (2019) we see the ruins of the maritime governorate that burned down a year earlier, it is among the constructions that we find the predominant element, the pebbles or snow. Time, the seasons, the deterioration of the planet hold for this piece that unique vocabulary of silence: stone or snow, brown or white. In both films, no matter how the surrounding hostility is portrayed, the human trace does not fade away.

and in loop that sharpens the senses and invites one to contemplate the space/ time of places in tension under a delicate composition. He graduated as a filmmaker from UNIACC University and in 2005 he studied Image and Sound Design at the Universidad de Buenos Aires, Argentina. Foschino has participated in many exhibitions including: "Courage in Transience", ACAC Aomori, Japan (2019); "Impermanencia", 13th

Rodrigo Rojas

Cuenca Biennial, Cuenca, Ecuador (2016); "Hidden Stories", Stadtgalerie Saarbrucken, Germany (2015); "Unsettled Landscapes", 9th Santa Fe Biennial, New Mexico, USA. (2014); "Ilusión Óptica," Museo de Arte Moderno, Mexico City, Mexico (2014); "Entre Siempre Y Jamás," Latin American Pavilion of the 54th Venice Biennale (2011); "Videosphere," Albright-Knox Gallery, Buffalo, USA. (2011). In 2014, he participated as guest artist of the Chilean pavilion "Monolith Controversies" of the 14th International Architecture Exhibition of Venice, and was awarded the Silver Lion.

Villa las Estrellas (2019) 2-channel video installation, 60” LED screens,

He currently lives and works in Santiago,

HD, 24'', color, no sound, loop, 280 x 80 x 10 cm

Chile. Fotografía: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center




The journey of water through the cracks and crevices of the earth has at times posed a challenge for thirsty humans who undeniably interpret it as an exploitable resource that escapes from our grasp. Inside a cave, in the middle of a waterfall, the four channels of this video installation titled Inside / Out (2017) were recorded while Foschino was in residence at Bosque Pehuén in southern Chile. In reference to the recording site inside a partially closed room, multiple views of the outside world are observed from the dark and comfortable interior of the cavern generating a sensory feast of sight and sound, reminding us that the essence of water is to escape in every possible direction.

Esta obra exhibe una bandada de patos silvestres que sobrevuela la superficie del agua de la laguna Aculeo, el año 2011, en el amanecer. La laguna se ubica en la comuna de Paine, Provincia de Maipo, Región Metropolitana, Chile y desde hace años ha sido un lugar de descanso de familias santiaguinas. En mapudungun, Aculeo significa "donde finaliza el río". El 2018 esta laguna terminó de secarse por completo. La desaparición del agua se constituye como un símbolo emblemático del cambio climático en Chile, producto del calentamiento global y de una legislación que considera el agua como un bien económico transable, entregado a perpetuidad a unos cuantos privados y que no prioriza el consumo humano, entre otros.

Dan Cameron

Esta proyección blanco y negro de 16mm nos muestra la laguna que fue. En tono melancólico, la escena da cuenta de un hábitat donde la vida animal y vegetal se sustentaba en una relación de equilibrio entre tierra y agua. Hoy, en cambio, allí donde volaba una diversidad de aves, se pueden ver espinos, vacas raquíticas y un malezal que se extiende, como desierto, por un suelo agrietado y seco. Sebastián de la Fuente C.

Inside / Out (2017)

ALBA, A Monochrome Landscape (2011)

4-channel video installation inside a darkroom, HD.

16 mm wall projection. HDV transferred to 16 mm film, 8",

Variable durations. Color. No sound. Loop. Variable dimensions.

black and white, no sound, loop. Variable dimensions.

Fotografía: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center




Foschino's videos are often dedicated to observable nature, although in this case it is the body and its matter that become the landscape. The previous focus was 'the seen world’, but here for the first time the focus is on the artist himself. Self-motion (2013) is a self-portrait in movement and an invitation to look where we cannot go: under the skin.

This work begins a journey exploring the artist's latest research, opening the way to different works that have water as their central focus. Filmed on the way to the Faroe Islands, a group of eighteen islands located between Iceland and Norway in the middle of northern waters, this video is a silent and contemplative image that contrasts the coldness of the waters with a dramatic and warm sky. Rising ocean temperatures, rising sea levels, the movement of marine species, melting glaciers and ocean acidification appear as inevitable phenomena in a seascape that is more than 70% larger than the land mass. From the vastness of the ocean, Norwegian Sea (2019) opens multiple edges that are present in this exhibition from which Foschino questions the damage and the environmental crisis mainly from an exercise of contemplation of water and its landscapes.

At first glance, this video may seem distanced from the exhibition it forms part of and from the apparent immobility of the image that characterizes all of Foschino's work. But there is something that remains, a spell. This spell is nothing other than cinema. The dance presents itself here as pure enjoyment ready for the recording device. And it is this jouissance that links Self-motion (2013) to its origins: the so-called "cinema of attractions" full of tricks and visual effects, but at the same time filled with a performative strategy where bodies are exhibited before and for the eye of the cameras of early cinema. Self-motion (2013) is set in the present and also at the end of the 19th century, alongside a sneezing man, kissing couples, opening lotus flowers and dancing bodies, full of exhibitionist pleasure displayed for the eye of the machine.

Ximena Moreno

José Miguel Palacios

Self Motion (2013)

Norwegian Sea (2019)

Video-installation, 50" LED screen mounted vertically to the wall.

Video installation, 55" LED screen with black wooden frame

HD, 4'', color, no sound, loop.

mounted vertically to the wall, HD, 8", color, no sound, loop.

Photography: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center



For the 13th Biennial of Cuenca (Ecuador) in 2016, the artist exhibited material collected during an expedition to the Galapagos Islands. His goal was to articulate a narrative around time; the 'time of the earth' interpreted from a bio-morphological perspective based on an analysis of local fauna. La edad de la Tierra (2016) is a multi-channel video installation that presents details of iguanas and land tortoises, textures that assimilate aerial shots of valleys, ravines or simply plants as objects of study through five screens installed on a stainless-steel ledge. The video installation is complemented by an underwater landscape that transports viewers to the aquatic environment and the richness of its configurations of light, flora and fauna. Making a direct reference to the work of 19th century naturalist-travelers such as Alexander Von Humboldt, Charles Darwin and Ernst Haeckel, Foschino succeeds with his installation in constructing a narrative-visual environment in which the analytical perspective of the scientific observer and the sensibility of the artist complement each other in an articulated and indissoluble unity. Juan Almarza Anwandter

La edad de la Tierra (2016) 6-channel video installation, stainless steel shelf, 65”, 32” and 18” LED screens, white wooden frames with acrylic backings, glossy black porcelain tile floor, cold light, HD video, variable lengths, color, no sound, loop. Fotografía: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center


6-channel video installation, stainless steel shelf, 65”, 32” and 18” LED screens, white

Photography: Gianfranco Foschino

wooden frames with acrylic backings, glossy black porcelain tile floor, cold light, HD video, variable lengths, color, no sound, loop.


sed (thirst)

matucana 100 cultural center



The camera, like an eye, observes and wonders. From the deck of the Aquiles, a Chilean Navy ship pans over Fildes Bay on King George Island, South Shetland, Antarctica. It rocks to the rhythm of the sea and seems to be installed on a breathing body as it swells at the top and exhales gray air when the wave passes by. In the grainy light, the leaden waters, ice, snow, and foam do not gleam. There is a calm akin to defeat. When is it worth leaving footprints? The dark silhouettes of the Russian military-scientific base Bellinghausen, its containers, hangars, oil tanks, and the tower of the Orthodox church with its spire appear. Human inhabitation is disruptive. Scientific study marks the landscape. Is it possible to probe without harm? There is no end to the wind, the beach is inhospitable, but life bubbles in its waters. Two timelines flow through the camera, or rather the work is situated at a temporal crossroads. We hear the voice of the officers giving orders with noisy urgency while geological time subsists in the whistling of the wind. Once we thought of the ice as eternal, while the base was planned to be impermanent. Both resist against the black rocks, the stony fields shown by the camera. Now the crossing of times is nothing more than a delicate negotiation between scientists with their appetite for knowledge, and the industry that postpones its extractive voracity. Rodrigo Rojas

Bellinghausen (2019) Wall projection, HD, 14", color, stereo, loop, 530 x 300 cm Photography: Benjamín Matte


sed (thirst)

matucana 100 cultural center



These projections record the intimate encounter between the clouds of the Atlantic Ocean and the high peaks of the Anaga Rural Park located on the Canary Island of Tenerife. On most days of the year, the north face of the Anaga Massif is submerged in clouds pushed by the trade winds that travel towards equatorial low-pressure zones. The speed of the wind coupled with the density of water allows gradual changes in the light that penetrate the space, forming subtle flashes of color that seem to be part of some divine revelation. In Espiritu Santo #1 (2013) a thick fog is noted crossing the road leading to one of the richest biodiversity hotspots in Europe. In Espiritu Santo #2 (2013) the walls formed by the creation of this same route generate a kind of tunnel obscured by dense vegetation. These kinds of places maintain an energy coming from the origin of everything. This is all that comes before us and becomes present precisely in those moments when no one else is present. Carolina Castro Jorquera

Espíritu Santo #1 y #2 (2013) Projections facing each other in a darkroom, HD video, 6" & 5", color, no sound, loop, variable dimensions Photography: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center



The aurora is one of the most fascinating optical phenomena on the planet. It is caused by the collision of billions of electrified particles escaping via sunspots from the sun's atmosphere with billions of hydrogen and oxygen particles from the Earth's atmosphere. This light show has long fascinated human beings. In an effort to induce the state of attention required to observe this phenomenon, Foschino has suspended a large crystalline screen in the center of the space to exhibit Aurora (2019), a rear-projection HD video of the aurora borealis (northern lights) as experienced by the artist during a residency in Iceland in 2017. The aurora is not a water-driven phenomenon, but since the ideal places for its observation are those near the north or south pole, it is associated with subpolar environments in those areas, which constitute the Earth's first melting ice sheets. Dan Cameron

Aurora (2019) Retro HD projection on hanging acrylic screen 12", color, no sound, loop, 168 x 300 x 5 cm Photograph: Gianfranco Foschino


sed (thirst)

matucana 100 cultural center



SIMBIOSIS MEDITATIVA (meditative symbiosis)

NOVEMBER 30, 2019 - DECEMBER 15, 2019


The competition paradigm as an explanation of the evolutionary engine has played a leading role in the construction of social organization systems. However, nature transcends this discourse, constantly demonstrating the complexity of the ecological systems that guide it. Lynn Margulis' endosymbiotic theory suggests that symbiosis exerts an important effect on the evolutionary dynamics of living beings, which questions the predominance that has been given to the competition factor and accentuates the principle of collaboration as the dynamic that enhances life. Considering our understanding of nature, at what point did we exclude ourselves from it? What are the remaining challenges to our social equilibrium? How have our understanding of ecology and our social vision affected each other? This exhibition is part of the "Fourth World" of the 14th Biennial of Media Arts, a meeting of arts, sciences and technologies with which we intend to explore vital dynamics that, like symbiosis, evade the extractive relationships of among human and natural culture. Collaborators: FABLAB Digital Fabrication Laboratory of the Universidad de Chile, Esteban Norambuena (industrial designer), Mauricio Hormazabal (computer scientist), Victor Contreras (industrial designer), Gonzalo Olave (electrical engineer) and Danisa Peric (industrial designer and director of Fablab U. Chile) Sponsored by the Ministry of Culture, Arts and Heritage. Project financed by the Program Otras Instituciones Colaboradores, the Fondo de Fomento al Arte en la Educación, the Fondo de Fomento Audiovisual, Convocatoria 2019 and the Cultural Donations Law.


simbiosis meditativa (meditative symbiosis)

cousiño palace cava gallery



This biomedia work explores a state of interdependence between a living organism and an electronic system, seeking an aesthetic result from a digitalbiological process. This installation is defined simultaneously as a work of art and as a biotechnological object, articulated as an open laboratory that gives rise to questions and situated knowledge. It follows aesthetic as well as scientific and philosophical guidelines where it finds its relevance as a proposal as a living, self-generating hybrid material.

# system, interdependence, light, photosynthesis, carbon dioxide Jean-Danton Laffert (Santiago, 1983) has a Bachelor of Arts and a Master's degree in Media Arts from the Universidad de Chile. His work is based on the relationship

The piece is comprised of containers with Soleirolia Soleirolii plants and sensors inside that detect a plant’s photosynthetic activity. The absorption of carbon dioxide produces information that is sent to a computerized module that processes the data and creates generative graphic patterns in real time. The graphics are projected onto the surface of the plant itself, also influencing its photosynthesis by the light intensity of the figures.

between art, nature and science. He uses a systems-based proposal to investigate the nature-technology binomial as an aesthetic reflection on the epistemological frontiers of contemporaneity. His tends to use and subvert electronic and luminous devices or organic elements in order to

This whole process creates a constant cycle of mutual dependence: as the plant grows, the light image changes based on the data supplied by the organism, producing a bio-electronic aesthetic that evolves over time.

create new conceptual approaches where the limits of the natural and the synthetic are blurred. Karin Astudillo (Santiago, 1987) studied humanities and philosophy at the Universidad Alberto Hurtado. She has worked with intersecting disciplines through training, manuals, seminars and teaching based on Matthew Lipman's methodology of philosophical inquiry. She is currently researching epistemological naturalism in the philosophy of Ludwig Wittgenstein, as well as the intersections between art, philosophy and science based on new media. Camilo Gouet (Santiago, 1984) holds a degree in Biology from the Universidad de Chile and a PhD in Psychology from the Pontificia Universidad Católica de Chile. His research has focused on the physiology of memory and cognitive modeling. He has worked in education and collaborated with interdisciplinary groups involved in research and scientific

System of two acrylic modules, containers of Soleirolia Soleirolii plant species, CO2, humidity and temperature sensors.

dissemination activities to connect biology,

Data processing system through an Arduino and mini computers.

electronics and data analysis.

Generation of fractal graphics in processing and visualization of photosynthetic activity in KST. Projection of images on 10" screens and a 3000 lumens digital projector. Photography: Galia Ortega. Culture Department, Municipality of Santiago.


simbiosis meditativa (meditative symbiosis)

cousiño palace cava gallery



NATURALEZA HUMANA (human nature)

DECEMBER 12, 2019 - JANUARY 12, 2020



Carlos Ortúzar's work El cuarto mundo, which disappeared from the UNCTAD III Building (now GAM) in 1973, is the origin of the inspiration for the 14th Santiago Biennial of Media Arts. In today’s framework of criticism of the current order and the extractivist relationship with our ecosystem, the Biennial reflects on how to connect art-science-technology with nature in the context of the socioenvironmental relationships we are living in.

Inés Ortega-Márquez (Las Palmas, Canarias, España. 1946) is an independent curator, researcher and Master in Cultural Management. She has held numerous exhibitions in museums in Latin America, the United States and Europe. She has participated

“Naturaleza Humana”, an exhibition created by the Centro Cultural de Las Condes, relates science and technology with the poetic construction of visual worlds, where the artist suggests harmony with the territory he inhabits and the utopia of sensitizing and alerting us to the predatory effects of the human condition.

in three other biennials: "Bolivia-Siart" (2016 and 2018) and "Bienal Sur" (2019). Ortega-Márquez has curated five Chilean National Prize winners for the National Museum of Fine Arts and the Museum of Contemporary Art. She is a

The wind as a natural phenomenon and as a generator of transformations -directly or in its technological applications- is the element that inspires and stimulates the creation of the artists grouped on the ground floor. Gaad Baytelman presents works that involve kinetics, pieces that enclose the poetics of movement driven by high precision mechanisms. Carlos Ortúzar, whose work involved great innovations in experimenting with new materials that contributed to the development of an urban, geometric and abstract art, appears with the metal and polychrome enamel model of the disappeared sculpture Espigas de fierro al viento, made for the International Fair of Santiago, FISA, in 1971.

When Marcel Duchamp exhibited his famous urinal in New York in 1917, he opened a door that would never close again, forcing artists and agents to broaden their perspective and realize that everything, depending on the context, the sender and the receiver, can be considered art. Since then, movements, thoughts and actions have arisen to vindicate this idea, and now in the 21st century no one could argue about the blurring of boundaries and the crossing of different languages that would have seemed incompatible in the past.

regular at the most renowned art fairs and is linked to Chile's contemporary art fair, Ch.ACO, as Director of the Advisory Board. She is Executive Advisor of the Roser Bru Artistic-Cultural Foundation. As an independent editor she has

Thus, the Biennial of Media Arts emerged in the wake of these new realities as an instance of dialogue and confrontation between creation, science and technology. In its fourteenth version, the event arrived at the Centro Cultural de Las Condes, intermingling authors of different affiliations and generations, including the most important local names of international relevance. Photographer Sergio Larrain and painter Roberto Matta flooded the halls and confronted their vision of progress with the work of Frenchman Robert Doisneau, which at the time was being exhibited as part of the annual program. The three of them, representatives of a convulsed era of changes and questionings, placed the vigor and validity of their lucid proposals at center stage.

published five catalogs.

The Bolivian artist Liliana Zapata presents two video-performances made in uninhabited landscapes at nearly 3,000 meters above sea level and swept by strong winds. It also connects with the core concept of this 14th Biennial based on Gilles Clément's Third Landscape Manifesto, which proposes a defense of the unordered nature of territories of refuge. Rounding out this section of the museum, the audiovisual work of Japanese artist Momoko Seto experiments with the processes of plants and nature, connecting directly to the wooden installation The Healing Tree in the outdoor courtyard, which promotes learning about plants that function as natural medicine for biological bodies. Momoko Seto's video dialogues with planetary systems, the theories of space and the universe of Roberto Matta, as well as with the concept of destruction of the natural habitat due to social causes, which Liliana Zapata's videos warn us about.

We thank curator Inés Ortega-Márquez and Biennial director Enrique Rivera for the opportunity to display a broader vision of the world in our Center, one that transcends generations and places. We are also grateful for the chance to share opinions with the experts who participated in the Biennial Curators' Meeting, an activity that was chosen to inaugurate the exhibition.

The second section on the next floor above presents the major dialogue created by photographer Sergio Larraín Echeñique and his Textos para el Kinder Planetario as he called his books to share knowledge and spread his theories and interests about simple life in contact with nature and meditation and a selection of graphic works by Roberto Matta in the 1960s. During this decade his work was won over by social morphology, and he denounced the mechanical powers that led humanity to war. This led him to reject science and technology, represented in planetary dreamlike scenarios and charged with spirals of energy.


naturaleza humana (human nature)

las condes cultural corporation



Hand-painted drawings on canvas and loose sheets of paper on the table are pages reproduced from Textos Para El Kinder Planetario. Attendees had the chance to compose their own books and continue spreading the message that Sergio Larraín transmitted during the years he lived ensconced in nature.

# present, consciousness, reality, attention, rhythm Sergio Larrain (Santiago, 1931 ​- Ovalle,

Textos para el Kinder planetario is a series of books edited and distributed by the artist himself during the years he lived in Tulahuén, Ovalle. Handwritten and typed pages are interspersed with photographs and photocopied drawings to share the convictions held by the photographer in his twilight years; to live a simple life in contact with nature while cultivating the spirit through meditation.

2012) was a renowned Chilean photographer. At the age of 18 he traveled to the United States to study forestry engineering in Berkeley (California). He was quickly drawn to photography, so he moved to Michigan where he began

The texts are part of a teaching with which Larraín hoped to guide those interested in such principles. The artist used this name to appeal to the expansion of the state of constant learning experienced during childhood. The doctrine was transmitted in sessions of "kinder planetario yoga artesanal" that he practiced with his students at the Casa de la Cultura in Ovalle (Cultural Center) along with other physical, perceptual and spiritual exercises cultivated through painting, writing and photography as simple moments of satori, ways of capturing ephemeral states of grace.

his training. He returned to Chile in 1951 and held his first exhibition in Santiago in 1953 and, together with the American artist Sheila A.W. Hicks, exhibited at this very museum in 1958. In 1959, invited by the French photographer Henri CartierBresson, he joined the Magnum Agency, an association of photojournalists and one of the most influential circles of artists in the history of photography worldwide.

Kinder planetario A series of twelve books, self-published by the author and printed and bound by Ediciones Lom.

He made photo-reportages in Europe and the Middle East, always returning to and departing from his home in Valparaiso, Chile.

Autoprogramación (control), undated Reconciliación (control), undated Ejercicios superiores, undated [En el punto], undated La realidad (control), 1985 El Reino, 1987 El manzano, 1990 En el día, 1991 La realidad (control), 2007 Velero, 2010 Aquí y ahora (control), 2010 La luz establecida, 2012 Colaborators: Gregoria Larrain


naturaleza humana (human nature)

las condes cultural corporation



Carlos Ortúzar's work involved great innovations in new materials experimentation that contributed to the development of his urban, geometric and abstract art. He used his knowledge of cybernetics and physics to develop works endowed with movement in new materials such as steel and fiberglass.

# movement, geometry, prisms, nature, urban planning Carlos Ortúzar (Santiago, 1935 - 1985)

"One is continually receiving impressions of colors, spaces, shapes and volumes and witnessing the daily spectacle of the Andes Mountains, a natural sculpture that presses upon Chilean artists just as the Egyptians were subjected to the sun. The mountain range is an immanent presence, and that is where I start from. With these elements I play, compose and geometrize," (Serenidad y placidez en el arte de Ortúzar. Interview with the artist in El Sur Newspaper, Concepción, December 31, 1982).

studied theater, law and philosophy. He entered the School of Fine Arts at the Universidad de Chile in 1956 where he was taught by Gustavo Carrasco, Marta Colvin and Gregorio de la Fuente. In 1962 he took on academic work and was secretary of the Museo de Arte Contemporáneo, under the direction

In 1968 he created the Integrated Design Workshop (DI in Spanish) for architecture and invited Eduardo Martínez Bonati and Iván Vial to participate. His objective was to prioritize collective work and introduce a social conception of art, making it available to everyone in public space and integrating it with architecture. Proof of this is the mural created in the Santa Lucía underpass (1970).

of Nemesio Antúnez. In 1964 he won a Fulbright Scholarship to study at the Pratt Institute and The New School of Social Research in New York. In 1970, he obtained another scholarship and returned for a few months to the United States to the Center for Advanced

Carlos Ortúzar was interested in urban space and its connection with nature, creating large-scale works, such as the kinetic sculpture made for UNCTAD III, El cuarto mundo (1972), which is the central piece of this Biennial, or Espigas de fierro al viento (1971), made for the commemoration of the centennial of the International Fair of Santiago (FISA) in Cerrillos.

Visual Studies M.I.T. in Boston, where he experienced a greater connection to cybernetics and physics. In the mid 70s he taught Volume at the University Center of Design and Art of Barcelona EINA. He returned to Chile in 1979 and until his

The model of this sculpture, destroyed years later, is exhibited here together with works representing human heads in fiberglass materials -such as Apollo, with its vibrant lateral antenna-, maintaining a dialogue between all the artists who occupy the space on the second floor, both through the kinetic works and those in connection with nature.

death in 1985 he worked as a professor at the Faculty of Architecture of the University of Chile and others such as the Universidad Central de Santiago.

We also show some geometric paintings of his Spaces series, abstract compositions made with pyroxylin lacquered metal pieces adjusted with precision. Collaborators: Andrea Ortúzar, Carlos Cruz Puga, Daniela Avila, Enrique Inda, Tessa Aguadé

Cabeza c.a. (1970) (Head c.a) Hollow sculpture, mixed technique


naturaleza humana (human nature)

las condes cultural corporation


Cabeza APOLO (1967) (APOLLO head) Black fiberglass and blue acrylic central plate

Cabeza c.a (1967-70) (Head c.a) Aluminum sculpture, mixed technique

Sculpture model Espigas de fierro al viento (1971) Metal, brass and polychrome enamel. Made for FISA


naturaleza humana (human nature)

las condes cultural corporation


Untitled, 1972 (details) Enamel painting on aluminum


naturaleza humana (human nature)

las condes cultural corporation



Gaad Baytelman's creativity presents itself as personal sculptural work that combines physics and technique with the poetics of a pure and light design. His processes are often led by intuition. The aesthetics of his pieces are light and spiritual, and he handles kinetics with mastery, driving the movement of his works through the natural force of the wind and high-precision mechanisms that find and maintain their own balance.

# intuition, physics, winged, light, technique Gaad Baytelman (Santiago, Chile, 1953) is a long-time architect and expert in special effects for film and advertising. He has built an intense collaborative

A vertical oscillation piece welcomes the viewer at the entrance to the exhibition building. On the second-floor terrace, a mid-sized interpretation of the kinetic work Mecánica de plumas y viento, composed of two pivots crowned by two fictional figures, which could be winged turtles or giant bees gently swaying in the air, scanning and protecting the urban environment. This initial work was exhibited in 2017 alongside the 20th Biennial of Architecture and Urbanism of Chile, at the Ex-Cárcel (Former Prison) de Valparaíso Cultural Center.

career, providing mechanical and physical solutions to filmmakers and visual artists alike. Like a deus ex machina, Baytelman is an efficient executor of other people's dreams. Some of his best-known collaborations include the games at the Mirador Interactive Museum (MIM) made in 1994, or the urban intervention Gran domino del puerto in the Festival Puerto Ideas 2016 in Valparaíso. In it many people collaborated on a series of "ingenious machines" that triggered a domino effect that covered the entire surface of the square. He has also collaborated with the Fundación Gustavo Poblete for the recreation of the Kinetic Pillar and with Lotty Rosenfeld in Moción de orden, a performance at the ENAP oil platform in Punta Arenas. As of 2015, Baytelman decided to devote himself exclusively to art.

Mecánica Alada (2019) (Winged Mechanics) Oscillating rotating sculpture Bronze and other metals, 140 x 140 cm, 230 cm with the base

Ascendente Esencial (2019) (Essential Ascendant) Vertical oscillating sculpture Bronze and granite 150 x 45 cm


naturaleza humana (human nature)

las condes cultural corporation



This project addresses the need to inhabit somewhere else. It is the search for one' s own room, that necessary fictitious space. A return to the roots, places that we abandoned to go to the city and then come back to again. Re(habitar) is a visual and sound record of interventions in abandoned houses and shelters in places on the borderline between the urban and the rural in the region of La Paz, Bolivia, which explores the unstable demarcations of individuality and collectivity, mobility and stillness.

# apacheta, aymara, sunshine, mountain range, origins, habitat, pachamama Liliana Zapata (Bolivia, 1980) studied at the Escuela de Bellas Artes Siles in La Paz, graduating with a minor in sculpture. In 2008 she studied at L'École des

The remains of an inhabited place acquire the condition of "re-found". The interventions are almost imperceptible and fade before the imposing landscape that surrounds them, becoming light acts recorded in static video shots of the outside and sounds of the altiplano wind.

Beaux Arts in Le Mans, France. She has participated in various contemporary art residencies such as Kiosko in Santa Cruz, Bolivia; Justresidence in Madrid; Campus Bienal in Buenos Aires; MAM Chiloé,

Everything takes place on the outside to make us attend to the richness of the inside, transporting us to another space, to another location that is not where we are or where we return. The sounds transport us to where we do not live. A house as an extension of oneself. A house to re-inhabit.

among others. In 2011 in La Paz, Zapata won first prize in the specialty Other Media at the LIX Salón Municipal de Artes Plásticas and

As if on an archaeological mission, the artist's interest lies in the inquiry into the structure of objects and materials that, in turn, respond to the conditions of their environment. Her projects include sculptures, drawings, videos, actions and installations in public spaces, works that activate a discursive argumentation in permanent contrast and dialogue between the micro and the macro, the organic and the artificial, the natural and the scientific, the human and the territory.

second prize at the EXPRESARTE Youth

She is interested in natural processes in relation to artistic creation, in the intangible value of what nature provides and in craftsmanship understood as the involvement and direct and close relationship with the materials and tools she uses.

Her solo exhibitions include Incisiones at

Art Competition in 2012. In Madrid, Spain, she won the emerging art award

Video CASA 0´00´01

JUSTMAD 2015, and that same year, in

At 3842 meters above sea level.

London, she won her second international

Tiahuanacu, department of La Paz, 15 km southeast of Lake Titicaca

prize in Emerging Bolivian Artist Award.

Static video recordings Analog audio recording Format. Avi, Mp4

The artist considers the final work to be as important as the process required by the material in order to be able to capture in the final glimpse all that is hidden in it.

Duration. 6’32’’

the Museo Nacional de Arte de La Paz, Bolivia, 2012; Metamorfosis silenciosas

Video CASA 0´00´03

at Sala Mustang Art Gallery, Elche, Spain,

At 4700 m.a.s.l.

2015; Constelaciones at Nube Galería,

Peaks between La Paz and the Yungas (Amazon basin)

Santa Cruz, Bolivia; and Re(habitar),

Static video recording

Centro Cultural MONTECARMELO,

Analog audio recording Format. Avi, Mp4

Santiago, Chile, 2017. She has also been

Duration. 6’32’’

invited to the Biennials of Curitiba, Brazil, 2015 and SIART, La Paz, Bolivia, 2015 and 2018.


naturaleza humana (human nature)

las condes cultural corporation



Momoko Seto's artistic career is marked by ecological activism. Her work aims to draw attention to the environmental crisis and persistently warns about the consequences of climate change, invoking human insensitivity and inaction.

# cosmic, microscopic, plant life Momoko Seto was born in 1980 in Tokyo,

With the Planets series, the artist recreates chemical and biological processes that she records while combining perspectives of extreme proximity and strangeness. Between a cosmic and microscopic space, mineral, plant and fungi life takes place in total absence of the human.

Japan. She developed her art studies at the Ecole Supérieure des Beaux-Arts in Marseille and then at Le Fresnoy, Studio National des Arts Contemporains. Alongside her role as an audiovisual

Seto creates documentaries with innovative technological and audiovisual techniques of great virtual reality and artistic beauty. Her work has received awards at various festivals, and important prizes such as the Audi Short Film Award at the 65th Berlin Biennale. It was added to the Mori Art Museum’s collection in Tokyo in 2017.

creator at the National Center for Scientific Research (CNRS) in France, she uses hybrid techniques to develop her artistic work. She combines different genres and media to transfer elements of everyday life to a universe similar to but different from the one we know, from the past or from a remote future.

PLANET A (2008) [video HD 07’40”] Production: Le Fresnoy Studio National des Arts Contemporains Shooting format: photographic series Projection format: HD Sound format: Dolby SR (no dialogues) PLANET Z (2011) [35mm 09’30”] Director: Momoko Seto Production: Sacrebleu + Autre Chose Sponsors: Centre Images, Région Centre; Canal+, CNC, Procirep, l'Angoa / Agicoa, Le Fresnoy, Studio National. Shooting format: photographic series Projection format: 35mm, DCP Sound format: Dolby SR (no dialogue) PLANET Σ (2014) [video HD 11’40”] Director: Momoko Seto Production: Les films de l’Arlequin & ARTE Shooting format: photographic series Projection format: DCP Sound format: Dolby 5.1 (no dialogues)


naturaleza humana (human nature)

las condes cultural corporation



Roberto Matta made his first engravings in New York in 1943 under the tutelage of artist Stanley William Hayter, considered one of the most important engravers of the 20th century. Miró, Tanguy, Ernst, and others also studied at his legendary Atelier 17 studio. His work as an engraver was always parallel to that of a painter, as he expressed the same concerns and interests that he showed through painting using this technique. His love for the word and for humanity were thus permanently highlighted throughout numerous series and books, many accompanied by his own poetic texts, written in his transgressive language or in collaboration with different poets and thinkers. In the 1940s, Matta explored the connection between art and modern science and compared the work of an artist to that of a scientist, but he became an idealist in the 1950s and into the 1960s. Deeply impacted by war and the depredation of man, he denounces the failure of technology and machine power, highlighting the conflicts, anxieties and tensions of contemporary man and his disappointment with the science and technology that led mankind to war and failure. In the 1960s, a decade that could be described as his most political period, Matta's work crosses conceptual explorations such as the open cube, hyperspace and large transparents derived from Duchamp's theories. According to Matta, transparent beings or vidrieurs ("glaziers") stand between human beings, serving both to protect and to observe themselves.

# universe, cosmos, hyperspace, open cube, planetary system, science, social morphology Roberto Matta (Santiago, Chile 1911 - Civitavecchia, Italy 2002) studied architecture at the Universidad Católica and graduated with La Liga de Las Religiones, a project that revolutionized the

Installation based on a selection of 24 original works belonging to four

academy with its designs inspired by the

series of prints grouped under the same title.

female body. He left for Europe in 1933. In pre-civil war Madrid (1936-1939) where

13 Come detta dentro vo significado (1962)

his uncle the Chilean diplomat Morla


Lynch lived, he established relationships

46 x 38 cm

with Federico García Lorca, Maruja Mallo, Pablo Neruda, Rafael Alberti and other

6 Passage et sage du couple (1964)

intellectuals. He worked in Paris in the


studio of Le Corbusier whose "Architecture

33 x 52 cm

de la raison" treatise opposed his "Architecture du temps". He collaborated in

2 Intronautes / Castronautes (1965)

the Pavilion of the Spanish Republic at the


"Exposición Universal" of 1937 where he

55 x 45 cm

met Picasso in the middle of the creation

We exhibited a selection of 24 engravings made by Roberto Matta in the 1960s, impregnated by social morphology and denunciation in dreamlike planetary scenarios loaded with spirals of energy. His works are full of hostile elements and closed structures in the form of cubes, from which the being struggles to free itself. He uses transparent planes that symbolize an open and closed world at the same time, placing these glasses between anthropomorphic figures that can connect and be seen. This symbology can also be found in his paintings of this period.

of the Guernica. He comes into contact

3 Série d´OR (1965)

with Breton through Dalí and becomes a


part of the surrealist movement. During

50 x 66 cm

the Second World War he lived with European intellectuals in the U.S.A. where

Inda-Maldifassi Collection

he was the architect of the European surrealist movement and developed his Morphologies Psychologiques. He collaborated with the young artists of the

Collaborators: Inda-Maldifassi

New York School and was a predecessor of abstract surrealism. When the horrors of the Holocaust were discovered in the mid-1940s, he denounced the horrors of war and moved away from surrealism to tell what was happening through strong figurative images, returning to Europe at the end of that decade. Matta died in 2002, in Italy, after winning Chile's National Fine Arts Prize in 1990 and numerous awards worldwide.


naturaleza humana (human nature)

las condes cultural corporation



naturaleza humana (human nature)

las condes cultural corporation



MICROINFINITO (microinfinite)

DECEMBER 14, 2019 - JANUARY 31, 2020

MICROINFINITO (MICROINFINITE) ARTURO DUCLOS GUEST CURATOR “El cuarto mundo” ("The Fourth World") is a utopian space that the 14th Biennial of Media Arts seeks to activate as a place for the reintegration of humans in nature. Artists who participate in this forum are exploring the intersection between arts, sciences and technologies and building up a sensitive awareness that integrates diverse ways of life and strategies of resistance and adaptation in the face of the crisis.


Arturo Duclos was born in Santiago de Chile in 1959. He holds a degree in Arts from the Pontificia Universidad Católica de Chile. Since the mid-eighties he has been exhibiting his work in Chile and abroad. In 1982, while still a student, he participated in the XII Biennial of Paris. In 1992, he

Philip Klawitter has transformed the artist's studio into a laboratory. Drawing from bioengineering, architectural and artistic methods, he builds sculptural machines that replicate the processes of life on our planet.

Created in 2008, the Sala de Arte CCU set out to become a touchstone on the Chilean cultural scene through projects that focus on different expressions of contemporary art.

won the John S. Guggenheim Foundation Grant, and in 1993 and 1994 he received Fondart grants. He was also awarded

At CCU we have reaffirmed our goal of "Bringing Art to the People" through an annual program of activities in which we showcase projects made by our most outstanding creators, both young and established, disseminating their art and supporting their activities throughout the country. For more than 27 years this has been our challenge, making every effort to promote multiple generations of artists and contribute to the enjoyment and knowledge of the whole society.

the Prize for the Arts and Sciences of

"Microinfinito" is part of "El cuarto mundo" by bringing in a small-scale perspective and artisanal technological practices, two necessary strategies for retracing the way back to Earth.


Communication of the UNIACC University in Santiago in 1996 and the First Latin American Enersis Art Prize in 2001.

microinfinito (microinfinite)

The solo show "Microinfinito" by Chilean artist Philip Klawitter brought our 2019 exhibition calendar to a close. Open to the public from December 14th 2019 to January 31st 2020, "Microinfinito" was an installation that visually recorded life in the micro-world and expressed it in macro terms.

ccu art room



Biogénesis has been built over the last six years as part of a work in progress in the Microinfinito series aimed at developing and visually recording the life that exists in the micro-world so we can perceive it at the macro level.


The first installation serves as a micro-planet incubator where the material development of the piece occurs with a living moss and the environmental conditions conducive to its growth. The second installation consists of the visual recording system with which we can examine life in the microworlds and see how the passage of time directly affects them.

Philip Klawitter (1985) is a multimedia

micro, macro, art/science, panspermia, spores, overview effect, systems

artist. His work plays with the fact that as observers of nature we perceive only a microscopic fraction of what is out there. Our senses have a physical limit, but reality seems to be almost infinite.

The main objective of the Biogénesis project is to evoke the large through the small, referencing both the hermeneutic principle "As above, so below; As below, so above," and the fractal quality of the universe in which the infinitesimal is comparable to the astronomical.

It continues in fractal patterns beyond what we can even imagine. Since the dawn of time, technology has been a tool for extending our physical limitations. It allows us to look farther, from subatomic

Replicating the macro in the micro gives us new information processes or tools to understand how the world works. Micro-planets can explain the emergence or the way in which life arises and moves forward. It shows how various factors influence these processes as explained by panspermia, one theory of how life migrates through the universe.

spaces where the rules of physics are different, to deep outer space, where distances are so great that time seems to lose meaning. Klawitter combines a working process based on engineering along with architectural and art studies

Biogénesis lets us observe and visually record processes that begin with inoculation understood as a way of grafting information onto the environment and move to the emergence of other microorganisms and interconnected life systems that are produced by various environmental factors that occur on our planet.

to build sculptural machines to observe where our senses cannot reach. Using the internet as a continuation of the mind, Arduino microcontrollers, modified equipment and a heuristic process based

Understanding how life arises or progresses leads to crucial philosophical questions in the viewer that encompass all types of existence, be they astronomical structures, our relationships with the environment, the interdependence of species, or otherwise.

entirely on trial and error, Philip creates systems for filming and recording the growth of micro-planets. The end result is multimedia content that varies by installation with processed images and hybrid time-lapse video techniques.

Documentary video 20'42'' Image Registration (time + rotation) Incubator 1 x 1.5 x 1.5 m Microscopy system and automated movement 3 x 2 x 2 x 2 m


microinfinito (microinfinite)

ccu art room


microinfinito (microinfinite)

ccu art room



CAMPOS MAGNÉTICOS (magnetic fields)

Aérea Performance by the Maygara Collective at AFA Gallery.




This program of public actions of the Biennial of Media Arts includes talks and concerts along with visual and sound performances and other activities. Its purpose is to connect the contents of the Biennial with artists, theoreticians, and academics together with various cultural and scientific agents in order to ensure their relevance and permanence in the collective consciousness.

EL CUARTO MUNDO GATHERING 08.09.2019 / VILLAVICENCIO BUILDING COURTYARD Participants: David Molina, Daniela Ávila, Enrique Rivera, Tessa Aguadé, Rodrigo Ortúzar (son), family members and the general public The milestone that marked the beginning of the 14th Biennial of Media Arts was the repositioning of Carlos Ortúzar's sculpture El cuarto mundo in the courtyard outside the Villavicencio building. This sculpture also served as the biennial’s central concept. UNCTAD researchers, students of Carlos Ortúzar's work, his relatives, friends and contemporary artists were all invited to delve into the meaning of this work and to collect and build new stories around it. The event took place in a circle in the middle of the courtyard, which unintentionally turned into a tribute to Ortúzar's life. Researchers like David Molina and Daniela Avila revealed some mysteries about the sculpture's design and its link to the Andean cosmovision, its resemblance to the kultrún [a Mapuche percussion instrument], and the geometries hidden in its proportions. Most of his family members chose to tell stories of the artist's everyday life.

DISCUSSION: 100 ES UN COLOR (100 IS A COLOR) 08.09.2019 / AUDITORIUM 1, GABRIELA MISTRAL CULTURAL CENTER (GAM) Participantes: Cornelia Vargas, Sofía Vargas, Alejandro Jofré, Benoît Crespin. The “Cien es un color” exhibition displayed the work of German-born visual artist Cornelia Vargas (Hochschule für Gestaltung in Ulm). Cornelia, known for her prolific career, decided to collaborate with Alejandro Jofré, a PhD in applied mathematics, with whom she has maintained a relationship over the last few years that revolves around the elucidation of concepts related to shapes, colors and numbers. This dialogue gave rise to the series of paintings presented in the biennial. Cornelia's daughter Sofia Vargas and computer artist Benoît Crespin (who participated in the exhibition) also took part in this conversation that revolved around the axes of indeterminacy, infinity and randomness.


el cuarto mundo (the fourth world)

Drifting was proposed as the connecting thread between the different venues of the biennial and the city. The exhibition "Taypi: 10,000 Soles" by artist Elisa Balmaceda, an Andean cosmovision researcher, was inaugurated on the last Saturday of September. That same afternoon archaeoastronomer Patricio Bustamante guided a tour of the same neighborhood that began at the Posada del Corregidor and went down to the Cal y Canto Bridge. It then entered Banderas Street towards the Plaza de Armas and climbed to the top of Cerro Santa Lucía. Patricio described the architectural and geological elements that hide the history of the ancient inhabitants of the valley of Santiago, their way of inhabiting the city in direct relation to the stars, and how progressive interventions in pursuit of urbanization interrupted this harmony.

TRANSFORMATIONS 18.10.2019 / MUSEO NACIONAL DE BELLAS ARTES (MNBA) Participants: Ronald Sistek, Marisol Facuse, Enrique Rivera, Claudia González, Natalia Contess. This gathering was organized with the Center for Climate Science and Resilience (CR2) of the Universidad de Chile to bring together scientific experts on the climate crisis. Artists Etienne de France (Fr) and Leonel Lienlaf (Mapuche poet and musician) performed at the start of the seminar. Sonia Pérez, from the Department of Social Psychology at Universidad de Chile gave the opening address in the MNBA's Salon Blanco, which was followed by presentations that diagnosed the need to turn museums into centers of knowledge management, highlighting their condition as technical spaces for preservation and dissemination of permanent and temporary exhibitions.

ASSEMBLY OF THE CUARTO MUNDO 28.11.2019 / VISUAL ARTS ROOM, GABRIELA MISTRAL CULTURAL CENTER (GAM) Curatorial meeting with Pauline Julier and Jean Paul Felley Various curators from the different exhibitions of the Biennial as well as agents of the cultural field met up during this assembly. It was an opportunity to reflect on the need to keep cultural initiatives active and exhibition spaces open in times of social upheaval. It was also the perfect occasion to present the curatorship of the Limits of the Earth, a 14th Biennial exhibition at the MAC created through a dialogue between the Biennial team and Swiss curator Jean Paul Felley.



NOMADIC ENCOUNTER: LA PIEDRA DE LA LOCURA (THE STONE OF MADNESS) 03.12.2019 / MUSEO DE ARTES VISUALES, MUSEO DE QUÍMICA Y FARMACIA Conversación entre la artista Alejandra Prieto, el psiquiatra Juan Pablo Undurraga y la geóloga Joseline Tapia. Modera: Richard Solís. Solo tendrás piedras by artist Alejandra Prieto addresses the environmental crisis of lithium. Before the social outburst, this work was to be installed in the Museum of Chemistry and Pharmacy, a venue that was forced to close its doors after October 18. Therefore, the decision was made to migrate the work to the Museum of Visual Arts (MAVI), which initiated a dialogue with the installation of the artist Mille Kalsmose (Denmark) who was working with the same mineral. The resulting alliance built between the two museums was opened to the public via a joint event on lithium with the intention of understanding the extraction and historical uses of this mineral from the altiplano.

LOS LÍMITES DE LA TIERRA ASSEMBLY 15.01.2020 / MUSEO DE ARTE CONTEMPORÁNEO (MAC) Attendees: Mariela Camaño, Nicolás Sáenz and Fernanda Oyarzún of the Biennial of Art and Science of Concepción, Camila Marambio of Ensayos, Maya Errázuriz and Juan Pablo Vergara of the Mar Adentro Foundation, Yto Aranda of Rao Caya, Olaf Boswijk of The Valley of the Possible, Consuelo Laclaustra and Cecilia Checa of NAVE, Francisco Vergara from the Dirección de Creación Artística de la Vicerrectoría de Investigación y Desarrollo (VID) of the Universidad de Chile, and Catalina Valdés, Bárbara Chávez, Enrique Rivera, Javier Vásquez and Sebastián Chávez from the Corporación Chilena de Video. The Escuela de la Intuición (School of Intuition) program convened an assembly to discuss possible links between art and science focused specifically on the experiences of artistic and scientific residencies in different areas of Chile. The day was organized around five axes of discussion. These included the challenges and opportunities of residencies as spaces for interdisciplinary knowledge, the generation of sustainable communities that empower localities, the tensions that are experienced in different territories where residencies are carried out and how to help solve such conflicts, the significant problem of extractivism committed without malicious intent by artists and scientists who go to live in those places. The final topic was the challenge of generating a constant and deep dialogue between the artistic and scientific communities. A clear example of this was the zero version of the Biennial of Art and Science jointly carried out in southern Chile by the Universities of Concepción, Católica de la Santísima Concepción and del Bio-Bio.


el cuarto mundo (the fourth world)

CENTERS FOR WATER STUDIES (CENTROS DE ESTUDIOS DEL AGUA - CEA) TALKS SESSION 1: WATER LANDS 14.11.2019 / CENTRO CULTURAL MATUCANA 100 Participants: Gustavo Boldrini, writer and carpenter; Rosa Chandía, architect, academic at Universidad Utem; Dan Cameron, curator; Gianfranco Foschino, visual artist; Sebastián de la Fuente, architect (moderator) Centros de Estudios del Agua (CEA) convened a conversation to discuss the importance of water today, the effects of climate change, and the current planetary water crisis.

SESSION 2: SANTIAGO WATERS 21.11.2019 / CENTRO CULTURAL MATUCANA 100 Participants: Paula Aguirre, landscape architect and researcher; Marcela Mella Ortíz, spokesperson for the Coordinadora Ciudadana No Alto Maipo and member of Red Ríos Libres; Javiera Barrenechea and Felipe Lago, from Bosque Panul / Red de defensa por la precordillera; Tomás Dinges from Parque Andino Juncal; Catalina Valdés, PhD in Art History and curator of the 14th Biennial of Medial Arts (moderator). Centros de Estudios del Agua (CEA) convened a meeting to think about the city's water situation. The basins of the Maipo and Mapocho rivers are being exploited with mega-infrastructure projects while the central zone of Chile is facing historic rates of drought. The conversation sought to recognize the dimensions of this crisis and to learn about initiatives for knowledge, protection and restoration of the ecosystems that surround and shape the city.

SESIÓN 3: LA CARTA DEL AGUA 4.12.2019 / CENTRO CULTURAL MATUCANA 100 Participants: Ulrike Broschek, Deputy Manager of Sustainability, Fundación Chile; Maribel Mora Curriao, poet and academic, Universidad de Chile; Ezio Costa, Executive Director of NGO FIMA; Alberto Peralta, mountaineer and snow climber; Rodrigo Rojas, poet, general coordinator of Cátedra Abierta in tribute to Roberto Bolaño, UDP (moderator) To initiate the conversation, the Chilean Water Charter was considered, which is a document that emerged from Water Week 2017 as an input to the 8th World Water Forum 2018 in Brasilia. Over 300 people throughout the country participated in activities leading up to the creation of the Water Charter in regional workshops. In addition, 45 representatives from different sectors of Chilean society (public and private sectors, NGOs and academia) identified principles, objectives to be pursued, urgent needs and good practices that made up the content of this charter.





Participants: Francisca Hernández, editor of Revista Andina and Andesgear blog; Nicole Ellena, director of Revista Endémico; Martín del Río, Ladera Sur; Rainer Krause, sound artist; Javiera Ide, journalist (moderator).

Participants: José Manuel Bidegain

Centro de Estudios del Agua (CEA) held a meeting to think about strategies and means by which contents related to environment and nature are published. Each speaker talked about their own experiences, in particular Ladera Sur, Revista Endémico, Revista Andina and the Andesgear blog.


ANIMITA PERFORMANCE 03.12.2019 / MUSEO DE ARTES VISUALES Y MUSEO DE QUÍMICA Y FARMACIA Participants: José Francisco Calbacho (architect and performer)

FOCO DE ESCUCHA | OPENING PERFORMANCE 12.10.2019 / MUSEO DEL SONIDO Participants: Nicolás Matzner (artist), Valentina Wong (contemporary dancer) The exhibition "Foco de Escucha" at the Museo del Sonido was a call to collective introspection using listening as an active practice of sharing silence. To open this space, artists Nico Trompe and Valentina Wong performed an interpretation of the act of listening, proposing it as a silent act of human agency. We witnessed a nonverbal dialogue in which Trompe created vibrational waves, to which Wong responded spontaneously with everyday, improvised body movements.

La piedra de la locura was an interdisciplinary gathering about the extraction and uses of the mineral lithium that took place at the Museum of Visual Arts. During the session, mental health and depression were addressed, which are topics often avoided in society. Continuing this conversation in a performative dimension, ANIMITA, a performance around disease and drugs was done in order to show the physiological, emotional and sensory effects associated with the silencing of a sick population. The artist wanted to involve the audience in his own struggle to learn to live with the Human Immunodeficiency Virus (HIV), and dedicated his act to the victims of this disease who still face discrimination and repression.

UMBRAL (THRESHOLD) PERFORMANCE 04.12.2019 / MUSEO NACIONAL DE BELLAS ARTES Participants: Valentina Wong, dancer

PERFORMANCE BAILES CHINOS 17.10.2019 / MUSEO NACIONAL DE BELLAS ARTES Participants: Nicole L’Huillier, La Chimuchina, the general public A widespread call was issued on the opening day of the "El tercer paisaje" exhibition at the Museo Nacional de Bellas Artes. While the speeches took place inside the museum, a group of people gathered outside to join in the act of playing fine panpipes in reference to the characteristic flutes used in Chinese Dances. This traditional ritual of the mountain range of north-central Chile consists of a procession of people playing flutes of complex geometry, which produces a sound referred to as cracked or split. The chinos (Chinese), the name given to participants in this ritual, were summoned to the front of the museum by the artist Nicole L'Huillier, to begin the sonic procession that traveled through both floors of the museum. Fifteen portable radios were distributed among the audience, which picked up the signal of a pirate radio in the hallway of the museum, broadcasting the sound of the Loa River. The procession crossed over to the Museum of Contemporary Art where an encounter took place with the artist Nia de Indias, who was at the inauguration of the Feria Impresionante at the MAC.


The artist José Manuel Bidegain presents a performative reflection on death, which he approaches as a sort of engine for change. Such a transformation may be dark, yet it leaves behind traces of light, reflections of our relationship with the cosmos.

el cuarto mundo (the fourth world)

Denise Lira-Ratinoff's work UMBRAL dealt with noise pollution in the oceans due to the excessive amount of fishing, transport and other vessels navigating international waters. The saturation of the sound landscape has a harmful effect on cetaceans' brains. The artist made a composition with the language of these animals, combining underwater recordings and remakes of the sound at the moment of their death. This sound environment was presented in a semidark room, illuminated only by the light of four projectors that reflected the image of the ocean on a bed of 300 kilograms of salt. The dancer Valentina Wong was invited to represent the connection that had been made with the piece. In the presence of only about twenty people invited by Lira-Ratinoff, Wong appeared from the audience and climbed onto the salt platform. Improvisation being her field of study, she let her body react spontaneously to the sound composition. Her dance symbolized the cycle that whales experience in the sea and climaxed with the killer frequency that symbolically broke down her nervous system.





Participants: Francisca Gili, Ana Rosa Ibañez, Francisca López, Francisca de la Riva, Margarita Gómez, Nico Trompe, Seba Canalla

Participants: Amelia Ibáñez y Juan Pablo Aguirre, Nico Trompe, AnaRosa Ibáñez y bailarines José Bidegain, Constanza Fernández, Bárbara Pinto, Carla Romero, Pedro Tugas

A group of female musicians gathered around the installation Delira by artist Nicole L'Huillier to represent the Bacchantes, wild nymphs who destroyed Orpheus in order to liberate the forces of nature according to the artist's interpretation. The horns created a cosmic atmosphere, filling the hall with vibrations in order to produce a sonorous trance. The bacchantes responded to the call with gloomy chants coming from the depths of their viscera. Each one took one of the ceramic spheres that represented the stars of the constellation Lyra placed in the center of the room. Once they reached the climax of their own voices, they smashed them against the floor, thus awakening their allies, the bacchantes-robots made by L'Huillier at MIT who joined the entropy with a cyborg-celestial chorus.

One characteristic of ritual is repetition. Under this premise, a repeat performance of Repercusión by choreographer Amelia Ibáñez was called for in response to the astrological variations that happened that month. The sound of the trompe or mouth harp was incorporated on this occasion, a central sound of the biennial.

AÉREA 04.10.2019 / GALERÍA AFA Participants: Maygara Collective

ESCUCHA LA VOZ DEL PUEBLO SESSION (LISTENING TO THE VOICE OF THE PEOPLE) 12.10.2019 / BIBLIOTECA PATRIMONIAL RECOLETA DOMINICA Participants: Isabel Torres, Josefina Astorga and AnaRosa Ibáñez At the opening of Jardines Humanos by Francisco Navarrete, which reflects on the Chilean national anthem as a symbol of European hegemony, the collective La Voz del Pueblo joined the act of challenging our (lack of) understanding of what it means to be American. Offering a space of "shared listening", they presented their most recent sound documentary called Cápsula América, a composition that combines migrant voices and pre-Hispanic sounds proposing to open channels for the unlearning of discriminatory and territorial practices. This capsule was made in collaboration with the Beca Migrante art project.

There are unique behaviors and extraordinary manifestations in the diversity of plants and living beings that go unnoticed because we have our eyes set on normality, similarity and homogeneity. Aerial was ideated as a piece to question the idea of paradise and hell and the natural and the unnatural while speaking of the incredible intelligence of plants in the face of the end of the world.



Sonpendular: Devenir de Ondas Impermanentes was an immersive audiovisual mapping concert performed by artists Andrea Gana, Sergio Mora-Díaz and Marco Martínez, inside the church of the Monasterio del Carmen Bajo de San Rafael in Independencia. The temporary intervention made use of mapping techniques, lighting and live sound to reactivate and give new meaning to this patrimonial building erected in 1777 and out of service since 1958.

Participants: Amelia Ibáñez, Juan Pablo Aguirre, AnaRosa Ibañez. Bailarines: César Avendaño, Jesús Briceño, Andrés Escobar, Constanza Fernández, Alexandra Miller, Simón Pascal, Marcela Torres


The installation of eight large-scale oars by Sebastián Maquieira in the central hall of the MAC for the exhibition "Los límites de la Tierra" provided a space to imagine a collaborative existence. The act of rowing served as a symbol of collective coordination to move forward in balance, a metaphor for human transformation. On this basis, choreographer Amelia Ibáñez together with other performers used the work as a device for ritual in a space of absolute chaos.


el cuarto mundo (the fourth world)

Participants: Alexandra Mabes, José Bidegain, Verónica Gaete, María Ferrer, Josefina Bardi, Karina Gallardo, Matilde Corvalán, María José Otarola, Catalina Arismendi, Andreas Bravo, Roberto Tapia. This performance was born out of an invitation extended by the Museo del Hongo to Alexandra Mabes to participate in the "∞ (Infinita)" show at the Benjamín Vicuña Mackenna Museum in a project designed for discussing individual and collective transformation.






Participants: Vanja Munjin / Carol Illanes

Se proyectó la serie Planets de la artista franco-japonesa Momoko Seto, en que recrea procesos químicos y biológicos que registra combinando miradas de extrema proximidad y extrañeza. Entre un espacio cósmico y microscópico, la vida mineral, vegetal y fungi transcurre en total ausencia de lo humano.

Paisajes críticos I is a collection of five short films in which the process of disarticulating and recomposing the sound and visual materialities of both the landscape and the film-making tools were at work. The topic of searching for traces or vestiges of how landscape has functioned as a medium or witness, thus how it functions as an organic archive, was presented as inseparable from the ways it can be captured by the moving image.

DONNA HARAWAY: STORY TELLING FOR EARTHLY SURVIVAL FABRIZIO TERRANOVA, 81 MIN, 2016 12.09.2012 / CINETECA NACIONAL DE CHILE Participants: Lucía Egaña, writer, artist and transfeminist, and Enrique Rivera, director of the Biennial of Media Arts Donna Haraway, feminist philosopher, historian of human consciousness, primates and cyborgs, shares her rebellious and hopeful universe in this documentary. The author of Cyborg Manifesto (1985) opens up to a dialogue with filmmaker Fabrizio Terranova, which takes us on a journey through contemporary realities, fictions and frictions from the perspective of one of the most curious and agile minds of our time.

The selected films were: The Whisperer (Oscar Santillán, Ecuador, 2014) Tierra quemada (Gabriela Golder, Argentina, 2015) Amerika: la bahía de las flechas (Ana Vaz, Brasil, 2016) Ceniza verde (Pablo Mazzolo, Argentina, 2019) Altiplano (Malena Szlam, Chile/Canadá, 2018)


DUSK CHORUS NIKA SARAVANJA, ALESSANDRO D'EMILIA, 62 MIN, 2018 24.09.2012 / CINETECA NACIONAL DE CHILE Participants: Nicole Ellena, director of Endémico magazine, Valentina Villarroel, artist and experimental musician, and Cristian Pinto, artist and field ornithologist. This film is a journey through the eyes of David Monacchi to the Amazon of Ecuador in order to record the acoustic landscapes of these primary forests, where we perceive firsthand the work behind the eco-acoustic project Fragments of Extinction devised by this Italian musician and composer. This award-winning documentary was recorded using the latest 3D audio technology, delivering a unique soundscape to listen to forests and experience how millions of years of evolution on our planet sound.


el cuarto mundo (the fourth world)

Paisajes críticos II triangulated a group of works where the perspective and experience of the one who is capturing produces sensitive translations of what is observed, stopping in gestures that embody, symbolize or serve as an entrance to configurations of the world, through ritual and the daily practices of the other. The Latin American critical landscape is understood by this group of works from a particular point of view, challenging the history of ethnography, transmitting the density of what we do not tend to know outside of given images: the itinerary of exoticizations of the indigenous and black worlds. This historical awareness derives from a certain "discomfort" with the images, which is translated into different forms of experimentation. The selected films are: La libertad (Laura Huertas Millán, Colombia, 2017) O peixe (Jonathas de Andrade, Brasil, 2016) Me consume (Antonio Pichillá, Guatemala, 2015)



ESCUELA DE LA INTUICIÓN (school of intuition)

Abraham Cruzvillegas, pedagogical curator of the School of Intuition at an activity held at the Museo Nacional de Bellas Artes




The School of Intuition is the community and education program of the Corporación Chilena de Video (Chilean Video Corporation) from which a series of meetings, talks, workshops, laboratories, mediated visits and editorial objects were designed to expand the contents and provocations of "El cuarto mundo" of the 14th Biennial of Media Arts. With the aim of opening spaces for interaction, creation and active learning, the School of Intuition invited Mexican artist Abraham Cruzvillegas as pedagogical curator to develop a manifesto. A series of artists, members of the scientific community, professors, everyday fans and researchers were also included to work with the public on techniques, methodologies and inspirations to awaken collective intuition.

The School of Intuition is a ubiquitous, free, public, non-profit institution. We will call the visiting public educando (educatees), in their plural social, political, economic, age, color, creed, taste and affective identity differences and divergences.

Pierced by the social awakening that Chile experienced in October 2019, the School of Intuition deployed its liquid qualities to flow in the systematic deprogramming of its activities, seeking ways to bring together communities of "The Fourth World" in the context of closed museums, mobilized crowds, streets brimming with expression, creativity, violence, and contrasts. The logic of a collective intuition emerged from an event, and the idea of the school was problematized with strength and meaning. The social and educational role of art and the museum were pertinent and critical nodes to redefine the work of a biennial that has warned since its very inception of the unsustainable vertiginous nature of a humanity based on an unlimited expansion. We gather here some of the voices of those who actively participated in the unscheduled program of the School of Intuition. Abraham Cruzvillegas is the one that opens the program, anticipating and inciting an indiscipline that later breaks out. Then we entered the Jardines Editoriales (Editorial Gardens) meetup spaces for reflection and editorialization that invited the biennial's audiences to produce and create their own content on their own blogs. These were followed by the three specific training and participation programs, namely the Mediation School, the Teaching School and the Open School, three occasions to build active learning communities before, during and after the appearance of "El cuarto mundo".


el cuarto mundo (the fourth world)

All people who work, participate or interact in the events will also be called educatees, although their roles could be characterized as 'mediator', 'teacher', 'administrator', 'director', 'boss', 'employee', 'subordinate', 'assistant', 'secretary', 'intern', 'messenger', 'curator', 'artist', 'plumber', 'fireman', 'housewife', 'journalist', 'guerrilla', 'fisherman', 'gardener', 'academic', 'beggar', 'laborer', 'owner', 'telephone operator', 'chef', 'unemployed', 'student', 'farmer', 'poet', 'hairdresser', 'guard', 'winemaker', 'model', 'doctor', 'craftsman', 'footballer', 'congressman', 'author', 'human rights defender' and an infinite list of work flora and fauna, yet to be fully taxonomized. The shape of the School of Intuition is triangular and its edges are drawn where they converge: 1. the open school. 2. the teaching school. 3. the school of mediation. That, in turn, intersect perpendicularly with another triangle -one that points southwhose edges are made up of: A) interpretive freedom. B) freedom of listening. C) narrative freedom. In their mobility and intrinsic multidimensionality, these two triangles that can exchange their angles in arbitrary and contradictory ways with no room for error can intersect with another triangle perpendicular to the others whose points are: @) the technical, cybernetic, digital or artisanal resources at hand. β) access to information, hand in hand with methodical doubt. Ω) improvisation. In its unexpected mechanisms, the synchronized turns of the three triangles may be described as something similar to a sphere in motion that spins like a sock or like a door that is at the same time open and closed, hardly perceptible or explainable from a two-dimensional or even three-dimensional platform, given that it exists in a realm that had been unknown to people and other animals until today.



The perspective of the Escuela de la Intuición, based on the potential movements described above, implies that there is no exclusive or excluding top or bottom, there is no north and south, there is no left or right, much less center or periphery. There is tetra-dimensional simultaneity: "El cuarto mundo." But also the fifth, the sixth, and so on, geometrically, squared, cubed, infinitively. The institution, which could well be called instinctuition, is governed by a strict and unquestionable, authoritarian and vertical regulation, composed of a single, imposing and fixed rule:

Example: to speak of delirium in a work - be it sculpture, painting, engraving, performance, symphony, novel, dance, poem, ode, pastel, chair or park - it would have to be done in a delirious way, not referring to delirium, that is, in an unproductive, drooling, incoherent and stupid way. In other words, subversive. The educatee is not a consumer, neither is he/she a producer. The educatee is a builder. The educatee is a destroyer. This simultaneity has no chronological, linear, logical or illogical temporality.

Make reality transparent, not invisible. This autarchy implies the ability to accept any version as adequate, without excluding others, including the most adverse or incorrect ones, so that inconsistency is only part of the didactic material, but not of the interpretation of reality.

The ethics of this simultaneity is described as constructing itself, questioning the present. It is contemporary in the purest sense of the term. The School of Intuition is not multidisciplinary, it is not interdisciplinary, nor is it transdisciplinary. It is undisciplinary.

The ability to make this rule one's own will not be evaluated, nor planned, but will be documented.

The School of Intuition does not offer services, but operates in the sphere of awareness of its goals and procedures.

Nor is there any training -in the industrial sense of pedagogy- that serves to form individuals that meet the efficient requirements of production (of objects, ideas, language, knowledge or emancipation of their paradigms).

The faculty is not conceived as a technical corporation, does not solve problems or preconceived solutions, and chooses, in the best of situations, to remain indefinitely in the articulation and the interstice as an educatee.

Training, not being subject to the standardization of intuition, will simply happen, consistent with each context, situation and circumstance.

The lack of historical memory will be grounds for exemplary disciplinary punishments, on a case-by-case basis, in its field.

As mentioned, there is no professional profile of the educatee, whose role is permanently and simultaneously interchanged with that of the teacher and with that of the administrative workers, the custodial, security and casual workers, without economic perception, beyond the symbolic capital that this company represents, also in an arbitrary and subjective manner. Or better yet: intersubjective.

The School of Intuition does not offer diplomas, certificates of attendance, decorations, degrees or academic or noble titles.

The educatee/teacher is also a researcher, in the academic - not the policed sense of the word.

Upon completion of their participation in the School of Intuition, the educatees/ teachers will receive a circumhyperhypohug, of an intensity analogous to their achievements and accidents, recorded in the letter of conclusion and in their documentary records.

The methodology and theoretical frameworks for each research project will be stated only from the formal consistency of each new (or old) object/subject of study. In this way, the theoretical and empirical tools and presuppositions will have to be enunciated with equally contradictory language.


el cuarto mundo (the fourth world)





Just as in previous editions, Editorial Gardens were set up at the main meeting points of the 14th Biennial of Media Arts, as spaces designed for visitors to interact, rest, talk and edit content through the format of logs, which were handed in and completed by the attendees as a device for appropriation of the contents. In the Editorial Gardens there was scientific content associated with the curatorial work of each area, which interacted with the Bestiary of the Fourth World, a selection of different species that invited visitors to imagine a humanity from an interspecies logic. The same way insects fly from one plant to another to pollinate flowers and bring forests to life, the Editorial Gardens invited visitors to the spaces that hosted the Biennial to pass on the contents through their blogs, giving life to the culture of a city and a planet that needs every citizen to pollinate critical and creative thinking.

BESTIARIO DEL CUARTO MUNDO (BESTIARY OF THE FOURTH WORLD) Since medieval times, bestiaries have been one of the favorite literary forms not only to describe and classify animals or fantastic beings, but also to create stories and narratives that bring alternative scenarios to life. Science has illuminated great paths of knowledge. Technology has made possible what seemed impossible. However, this development has led us to rely too much on our human capacity to control and dominate the ecosystem, while forgetting much of the knowledge associated with territories, the local, the popular, art and intuition. The Bestiario del cuarto mundo collects the wonderful discoveries made by science about each of these creatures, to invite the arts, popular and games traditions, to enchant them and bring them to life. In each of their appearances, the beasts suggest the importance of broadening our perspectives, of shifting our anthropocentrism towards an interspecies logic, tuning in to the value and necessity of each element of our ecosystem -planetary and interplanetarywhere every form of life, every mountain, river and cloud plays a role. How can the fungi kingdom put in check what we already believe? What does the tardigrade teach us about conditions of resistance to adversity? How does the cuttlefish introduce different ways of understanding intelligence?


el cuarto mundo (the fourth world)

The 14th Biennial of Media Arts in alliance with the School of Art of the Universidad Católica invited students of the Faculty of Arts and the general public to participate in a Training Program in Artistic Mediation in the context of the Escuela de la Intuición. The School of Mediation consisted of the development of four theoreticalpractical training modules in which the training institutions Fundación Caserta and Red Mediación Artística collaborated, together with the Communities and Learning team of the Corporación Chilena de Video. In addition, the network of museum institutions of the 14th Biennial of Media Arts hosted internships in Artistic Mediation and Knowledge Management. One of the objectives of the School of Mediation was to offer a space for training with a professionalizing approach, opening spaces for the visualization of new perspectives of contemporary development and creation, in professional contexts in which the arts, education, humanities, research, communications and other disciplinary fields intersect. The program consisted of 14 chronological hours, combined with 40 hours of internship in the various venues of the 14th Biennial. Over 30 people participated in this program, although it was interrupted by the difficulties inherent to the social mobilizations of October 2019. As a result, the internship shifts were difficult, and only 16 mediators were able to complete the entire program.

ESCUELA DOCENTE (TEACHING SCHOOL) The Teaching School was an invitation to a group of more than 70 teachers from public schools in the Metropolitan Region to navigate the limits and interstices of the relationship between Art and Science based on the works and curatorship of the Biennial of Media Arts. The program had an active learning methodological approach, which from Project Based Learning (PBL), the interdisciplinary STEM (Science, Technology, Engineering & Math) education approach, Design Thinking and Playful Learning invited teachers to design their own educational projects around the Biennial. Although the social mobilizations prevented the teachers from carrying out the last stage of methodological application, the program made it possible to raise questions and processes in order to challenge the ways in which we learn. The invitation was to investigate the possibilities of constructing knowledge based on the contexts we inhabit; in connection with the infinite social, environmental,



economic and political complexities; by virtue of and respecting the intrinsic motivations and wills of the learner, and from an interdisciplinary matrix. In other words, to know from the natural provisions offered to us by intuition and in integration with the knowledge of art, science and local knowledge. The Escuela Docente was part of a project financed by the Fondo de Fomento al Arte en la Educación (Fund for the Promotion of Art in Education), Ministry of Culture, Arts and Heritage, awarded by the Corporación Chilena de Video. The training exercise and co-design of methodologies was systematized and published in four pedagogical materials currently disseminated on the platform Mediateca Libre.

ESCUELA ABIERTA (OPEN SCHOOL) From the need to adapt the contingency of the social movement to the Biennial's program and reuse the museographic spaces, the opportunity arose to resignify the GAM's Visual Arts Hall as a collaborative workshop for four weeks, to experience an open laboratory, editorial in nature, in interaction with various unscheduled programs. Thus, several art groups, artists, educators and cultural agents in general interacted in the laboratory; the School of Intuition of the Biennial, Impresionante (independent publishing collectives and graphic artists), ACA - Arte Contemporáneo Asociados, NGO Derechos digitales, Liras Populares (popular artists collective), Ojo Chile (audiovisual collective), Ojos Anónimos (photographers collective), IBA (International Biennial Association), the GAM production team, graphic art collectives such as Larva Press, Editorial Plo, Pésimo Servicio, Tipos Móviles, among others. In a normal context, the aim had been to promote an open or active school, that is, a school that integrated communities and learning around contextual needs and problems. In the context that unfolded, the Open School was presented as a practice and as a solution that was necessarily logical and sensitive to the needs and problems of the situation at hand. The diversity of actions carried out in the open laboratory involved different formats of collaborative work and configurations of the space to interact in group workshops, discussions, seminars, editorial exercises, graphic printing, exhibitions, lectures, guided tours, and visits to the city streets, territories and social mobilizations. The School of Intuition's first action was to reactivate the memory of the building we were inhabiting in order to configure the open space. We rehearsed the genealogies of the building Centro Cultural Gabriela Mistral (ex-UNCTAD III), to reconfigure them in the open space with papers on the wall, starting what later ended up being a rhizomatic wall rather than a genealogical one. With the participation of researcher David Maulen, an open activity was held to reconstruct the genealogy of UNCTAD III, analyzing the trajectories of biennials and schools as active learning devices integrated into culture with a view to rethinking the objectives and practices of cultural centers such as the GAM. Next a series of workshops was held to analyze public policy on culture and education in general, identifying policy issues in the open school, teaching, mediation and arts and crafts, which were visually modeled in an analysis. Finally, we worked on the Devenires essay as a game that would allow us to assimilate the event of the social outburst in a device of cards and forms of organization to be used as a tool of potentials of the social evolution.


el cuarto mundo (the fourth world)



CONCURSO INTERNACIONAL JUAN DOWNEY (juan downey international competition)

Rostro Humano (2019) (Human Face) by Javier González Pesce. Winning work in the Video Art and Digital Animation category in the last edition of the competition.



The Juan Downey International Media and Audiovisual Arts Competition began in 1993 within the framework of the first Biennial of Media Arts as a tribute to Chilean artist Juan Downey (1940-1993). He was a pioneer in video art, video essay, expanded cinema and interactive installations, both in Chile and worldwide.

A series of large-scale replicas of parts of a human face (two eyes, a nose and a mouth) float on the surface of a lake. The movements of the currents, winds, and temperature changes make the facial elements move in a disorderly manner. A person swims into the scene and tries to arrange the pieces to configure an organized human face, but the natural movements always end up jumbling the image. The person persists. Numerous shots show us how the face is scrambled as its parts get pushed around by environmental flows.

With 25 years of existence, the competition is an emblematic part of the Biennial of Media Arts of Santiago and an important event for the local video arts scene. It testifies to the changes in formats, nuances, languages and technologies that have helped video grow into a major genre in today’s arts. Artists from all over the world and creators of video art, digital animation, GIFs and interactive narratives have all participated in its many editions.

Javier González Pesce (Santiago, Chile, 1984). Visual artist graduated from Universidad ARCIS and Master in Art in public space by ÉDHÉA in Switzerland. He has worked mainly as a visual artist, but also as a curator and since 2011 as co-director of Local Arte Contemporáneo in Santiago. He has had solo exhibitions

Interested in working on a surface that would alter the location of the bodies, the artist approached aquatic environments for his sculptural practice. Thus, the flowing shapes were not only affected by gravity, but also by currents, winds and other natural phenomena.

at The Darling Foundry (Canada, 2019), Points Center for Contemporary Art (China, 2019), Galería Gabriela Mistral (Chile, 2017), Espacio Crenau of the Sion Museum of Art (Switzerland 2017), the

Filmmakers and collectives from Chile and other countries were invited to participate with works based on and/or related to the curatorial theme of the 14th Biennial, El cuarto mundo (The Fourth World). On this occasion, the competition included two lines of participation. Video art and digital animation: The jury was composed of the artistic co-director of Trauma 4 Productions Mary Monahan, artist and educator Cristóbal Cea, and photographer and documentary filmmaker Benjamín Matte. Interactive Narratives: where the media artist Natalia Cabrera, the audiovisual producer Pepe Rovano and the journalist and designer Francisca Gabler took part in the jury.

Rostro humano proposes a visual metaphor for communication between what is natural and what is human. While the human insists on specific configurations and control, the natural proposes flow, movement and re-configuration of the elements. The human gaze is univocal, the natural proposal is multiple. This work presents the human insistence on the control of signs and symbols as an absurd and fruitless activity. It proposes the need for a new attitude in dialogue with the environment.

Museo de Artes Visuales (Chile 2014), and others. He has participated in numerous group exhibitions in Chile and abroad. Through his work he seeks to investigate how bodies, substances and other matter either stand still or engage in movement influenced by attractive forces. These forces are varied and range from cultural phenomena such as love, politics, economics or tourism, as well as simply physical phenomena such as gravity or temperature. He explores this concern in his work from the content and material dispositions, considering the relationship with aquatic media to be fundamental for this stage of his work.

Rostro Humano (frame) Digital video, no audio, 15'


el cuarto mundo (the fourth world)





This installation recreates and represents the universe of the humpback whale, starting from the awareness of its heartbeat and songs. Using virtual reality glasses, the participant is immersed in a 360° video and experiences an abstract world built around these giant mammals.

Colectivo ECOS (Medellín, Colombia) is a Colombian collective comprised of Juan David Aranzazu, Maria Camila Muñoz, Ana Carolina Naranjo and Diego Pérez Osorno that explores the

This project was made by Colectivo ECOS during an arts residency at the Exploratorio del Parque Explora in Medellín. It won the Convocatoria de Estímulos para el Arte y la Cultura 2018 of the Mayor's Office of Medellín and its Secretariat of Citizen Culture.

relationship between humans and nature using expanded formats and new








environment. This created the foundation




to continue exploring the interaction of




Their work began in January 2018 with the participation of some members in the growing virtual reality seedbed of the Exploratorio del Parque Explora de Medellín. Their first project was to use Blender (3D modeling software) to create scenarios and Unity (programming environment) to export it to the VR Chat

art through unconventional technological


tools such as virtual reality glasses. Next, they developed a project called Latidos Marinos, which won the Latidos Marinos (frame)

Convocatoria de Estímulos para el

Virtual reality, VR goggles and headhones, 6'

Arte y la Cultura 2018 and 2019 of the Mayor's Office of Medellin. At this point they began an artistic residency for five months at the Exploratorio del Parque Explora to access the support that this




institution provides to execute various




projects with non-traditional approaches


in the city. The positive reception of the work allowed them to create a new work in video dome format that won an award and was exhibited in Medellin, Bogota







el cuarto mundo (the fourth world)



TEXTOS COMPLEMENTARIOS (supplemental writings)


El cuarto mundo is the third novel published by Chilean writer Diamela Eltit and delves into the conformation of a fractured subjectivity through a self-aware exploration of language. The psychic splitting of the "subject" is paired not only with the corporeality of the twins that are the main characters, but also in the very structure of the novel itself dissected into two parts. The first part of the novel is narrated from the point of view of a zygote growing into a young man who becomes a transvestite called María Chipia. The tone of this first part is more transparent, governed by the rationality with which María Chipia futilely tries to adjust herself to the male countenance. The second part, narrated by the twin (whose name I will not repeat for the sake of anyone who has not read the novel to the end), is a baroque theatricalization of the tragedy of the family unit. The setting for both parts is a cursed home situated in a Third World country with delusions of grandeur. Psychologist Melanie Klein's "frightened tit" is a construct that takes on a unique meaning in our context, that of les hijes de la chingada (the freakin' children) who inhabit a wounded continent. Identity in Abya Yala, if we can still call it "identity", occurs as a drift between the closed past and the unattainable promise of economic progress. "El cuarto mundo" attentively investigates the archaeological remnants of the original hybridity in ordinary everyday life, narrating the effects of miscegenation brought up to date through an "ancestral woman" violated by the Name of the Father. Thus images of the "cosmic magnitude of a birth", "two towers, two panthers, two elders, two roads" follow one after the other as the pages progress, images accompanied by natural phenomena, animal instinct, pre-Hispanic geometries, medicinal herbs and ruins. Like the pen of Sor Juana Inés de la Cruz, the "two organisms" of the twins coexist in a marvelous babbling of language, an unprecedented pleasure derived from that equation whose result is the voice of the local where the foreign and Creole components are integrated (with blood and fire) in speech. The bodily symptoms of the logos in the characters are a performance of the anarchic abyss. They are a superposition of dying orders in the uninhabited South American where greed and violence leave no law unexposed to transgression. The oedipal triangle is replicated in the three brothers, the two twins and little María de la Alava. Throughout the novel, there is an underlying dialogue among this trio built from intuitions threaded through telekinesis and the dream realm. As I revisit this work, the adulterous figure of the mother permeates me; or rather, the "inescapable" imposition of motherhood as the consummation of the sexed reason for women. I seem to perceive in her a sort of postmodern Yocasta, especially in the scene in which the mother character is harassed as a rural volunteer by a horde of blind children who tear her clothes while she cleans their eye sockets. In contrast to the paranoid interior of the family nucleus (which becomes immense because of its darkness) there are important counterpoints in the novel that take place


el cuarto mundo (the fourth world)

outside, harassing the sanity and desires of the characters. One example is the mother's visit to the home for blind children, although perhaps one of the most striking episodes is the anonymous street encounter that Maria Chipia has at the age of 12, with a bisexual beggar of unclear gender. In these encounters, a sophisticated aesthetic of "the Sudaca” [insulting way to refer to someone of South American origin] is generated, traced between those hard torsos of the population, the diffuse urban strata, offspring upon offspring, the prostitutes, the group beatings, the incest, the desperate prayers. «El cuarto mundo» is a novel of dynamic reading, less dark perhaps if we compare it with "Por la patria" and before that "Lumpérica", but no less exquisite in its exploration of language. It is a novel that shocks and frightens me, but to which I always return once again while peeking through my fingers. This is a literary project to which many others have turned while searching for signs to explore the voice of the in-between, including the huacha [Chilean Spanish for bastard or illegitimate child] poetry of Antonio Silva, probably the last neo-baroque poet. But Eltit is Eltit. The following is a hikikomori dialogue between Diamela and me. aliwen: «El cuarto mundo» was (if I'm not mistaken) your third novel, published in 1988. What was the writing process like? What do you remember about that period, relatively contemporaneous to the plebiscite that would put an end to the civil-military dictatorship? Diamela: At that time some 34 years ago (I wrote it evidently before it was published in '88) I was moved by the desire to write about the couple, a vague idea without any form. In that regard I should point out that I have never started a novel with a defined plot. It is simply written in the act of writing. It is configured in accordance with how the substance arises until it becomes fully defined. Then I follow what the characters and the writing itself suggest. At that time I was reading a book by the Spaniard Caro Baroja, "Las brujas" (The Witches), about women burned by the Inquisition. I found it interesting and from there I took (stole) two names: María Chipia for the brother and María de la Alava for the non-twin sister, women burned by the inquisitorial church. a: Shortly after beginning the novel, the psychoanalytic reference becomes evident. I perceive it in Freud's own genitality, in Lacan's own mirrored identity, but above all, I perceive a link with Melanie Klein in the normative pain of childbirth, a synecdoche of chaos through breastfeeding. What was the role of psychoanalysis in this novel? D: Of course I have read Lacan and especially Freud, among many other readings. Also Melanie Klein or Dolto, the Italian and English anti-psychiatrists. These readings have helped me understand the fluidity or layers of meaning that language carries, to understand that in the writing process there are layers and layers of images and scenes, and the task is to avoid preaching through the alphabet.



a: The choice of twins as a narrative point of view manages to communicate some claustrophobic terror to anyone, especially (I can speculate) to pregnant bodies. However, the aesthetic of this novel is diametrically opposed to that of the psychological thriller, as the first-person omniscient-cellular perspective of the story arrests any anticipatory suspense encouraging an intoxicating sense of the present. I return to the reference to the psyche, in particular to Anne Fausto-Sterling's research on how gender roles are taught in the early stimulation of children. Could it be that confronting the upbringing of boys and girls made possible a critique of the gender binary and its socialization in your work? D: Instead of turning to realism, I wanted to describe that family in particular, but in a more psychic, residual, and complex way. It’s just that at the start of the writing process the twins emerged, and I realized that this formation is one of the most radical, if not the most radical of what we understand as a couple. That was the starting point. a: I wanted to ask you about the narrative twist in the second part of the novel, which implies a shift of perspective as well as a change in the materiality of the word. The feminine point of view of the "second act" is in line with a neo-baroque theatricalization of the signifier, which overflows in a plurality of meanings anchored to melodramatic overlaps. Was the neo-baroque current a touchstone for creating this work? D: The twin María Chipia seems to me to be the broadest and most refined. In fact I let it take place entirely in a timeless atmosphere marked by gesturing. They were what they were; themselves. I tried to limit the text from any hint of classification because the truth is that the configuration of the characters did not permit any explanations, let alone the definition of identities beyond the twin and family relationship. In the end, I let them flow because they had already made the novel their own. What I was seeking was to structure a poetics in which a transgressive space halfway between the aristocratic and the marginal, mobilized by the solvency of the bodies could be created so that its scenes and scenarios could be naturalized. The twin's speech is more chaotic, coded, synthetic, never descriptive. I was interested in what I could name as the theater of writing to generate bodies using the bodies of letters as the foundation. a: Finally, what does the "fourth world" mean? D: I was in Paris at the time and I read about the fourth worlders, people who had desocialized themselves inside their homes, and I thought that was an accurate title for my novel.


el cuarto mundo (the fourth world)



HUMANS, WEEDS AND ABYSSAL FISH ENRIQUE RIVERA DIRECTOR OF THE BIENNIAL OF MEDIA ARTS OF SANTIAGO The general problem seems to be communicational. Between humans and plants, humans and minerals, humans and humans. Let us agree that for the sake of this curatorial proposal and the long-announced climate emergency, and seemingly in a process of collective assimilation at last, there is a kind of tacit convention that situates the role of art and culture in its contribution to offering a critical reflection that helps us look at the past, present and future context of our relationship with the planet. We know that we are in a radical situation on the verge of no return, and the constitution of a balance between the rational and the intuitive through a series of strategies based on cooperation and the common good cannot be postponed. Mycorrhiza and mycelium produced by the fungal kingdom is a form of rhizomatic nutrition that interconnects and allows various forms of plant and animal interdependence, provides the conditions for a balanced ecosystem, and is an example of a fundamental relationship and interconnection. The interconnection produced by mycorrhizae is very similar to the constitution of internet networks, and more specifically, to the data blocks or blockchains from where information is transmitted and stored without a determined center, and from where it is possible to understand a new pact that allows us to create social, political and economic conditions inspired by a heterarchical relationship with the environment. But to achieve this we need a structural cultural change in our tacit manifesto as a civilization. Gabriela Mistral announced the need to "Humanize Humanity" as if our existential condition on Earth were conditioned by a desire to be human, but unable to be so due to a non-harmonic relationship with the environment that surrounds us. The notion of "autopoiesis" by Humberto Maturana and Francisco Varela explains how organisms determine themselves from the context that surrounds them. Varela specifically crossed boundaries from the West to the East, where this relationship with the environment includes, for example, transcendental meditation and neuroscience as a form of unconventional exploration to nurture this fundamental search. Mycorrhiza has adapted to and assisted the various geological eras of the planet, although today this solid equilibrium has undoubtedly been altered by a vertiginous liquid modernity (Z. Bauman), provoked by a dromological State/Military/Corporatist (P. Virilio), which constitutes a postfordist and siliconized datological democracy (E. Satín). It is this condition that we propose considering and putting into common reflection from this context, determining a curatorial field of force based on the notion of "El cuarto mundo" ("The Fourth World") in order to observe, identify, put into practice and contribute to the construction of a global force that has emerged around a non-extractivist relationship with our environment in a non-deterministic yet decisive way. We take as a reference the observers of the context that in the course of history have understood and expressed a warning about how we have separated ourselves from a wild relationship with the Earth, wild in the sense of harmonious relationship, and where we are falsely placed at the top of the evolutionary pyramid, an abstract pyramid invented by us to satisfy an unnecessary negative ego.


el cuarto mundo (the fourth world)

In 1854, Chief Sealth of the Suquamish and Duwamish Amerindian tribe expressed his view of the offer of the English conquerors to buy some territory in a simple and elegant way that refers to this illusory separation of man and nature: "Humankind has not woven the web of life. We are but one thread within it. Whatever we do to the web, we do to ourselves." Chief Sealth continues his description of the clash of cultures as follows, "But perhaps it is because the red man is a savage and does not understand. There is no quiet place in the white man’s cities. No place to hear the unfurling of leaves in spring or the rustle of an insect’s wings. But perhaps it is because I am a savage and do not understand. The clatter only seems to insult the ears. And what is there to life if a man cannot hear the lonely cry of the whippoorwill or the arguments of the frogs around a pond at night? I am a red man and do not understand. The Indian prefers the soft sound of the wind darting over the face of a pond and the smell of the wind itself, cleansed by a midday rain or scented with pine tree." The white man's city, as described by Chief Sealth, controls and determines the place of nature from a condition of service, where in the current global urban planning the place of animals, plants, insects, fungal and bacterial kingdom is considered from the condition of danger. The naturalist Alexander Von Humboldt warned us over 200 years ago in our western and obtuse language about the impact of humans on the ecosystem. He evoked the imminent end of the equilibrium that for millions of years underscored the possibilities of existence of life on this planet with a social foundation based on selfishness and individuality where the understanding of the interdependence of species is fatally nonexistent. The warning envisioned by Humboldt, who experienced the early modern age as it converged with the territories and wisdoms of the original peoples of several continents already being destroyed by our collective ignorance can be considered one of the most tragic casandristic curses, since his call was not listened to with the necessary seriousness to assume this urgency, and possibly by antonomasia, an accelerator of the processes of extractivism based on the ambition and greed of this already uncontrolled Anthropocene period. The foundations of Western natural knowledge represented by the Greek sages Epicurus and Democritus have unfortunately not set up a public policy in the history of democracy. The Greek school took from the syncretized wisdoms of Egypt and Mesopotamia the understanding of the essential elements, such as the atom and the cells, which were then deepened by the alchemical school, where a holistic understanding of the relationship between humans and the other elements that make up the ecosystem was created. This integrated thinking, which precedes a kind of theory of everything or Einstein's theory of relativity, was later postponed by the Inquisition, concentrating this knowledge on the possibility of control through religion, eliminating systematically through massive burning



and murder of representatives of pagan wisdom and vegetalism (such as Joan of Arc or Giordano Bruno, among others), everything that could disturb the order by the system of power established in the relationship between kingship and church. Following the industrial revolution, the expansion of monarchic power established the foundations of an economic system that is currently undergoing a structural transition, integrating the Internet and information technologies in general as a new paradigm that liquifies the solidity of the superstructures. In this process, artistic production goes from having an iconoclastic role to one at the service of the representation of reality to then free itself from all forms of representation to create its own identity and, in many cases, to contribute to an emancipatory process inspired by the common good and a reconnection between the ecosystem and a humanity alienated by the mechanized use of industrial (now digital) technologies. Ever since we managed to initiate a rational relationship among ourselves as a species supposedly superior to the rest of the beings with whom we share this planet, we have exercised undue dominion over our territories, and lost - as if it were a curse - the ability to connect intuitively with the now damaged ecosystem. This condition is reflected in the 1920 expressionist film "Algol: The Tragedy of Power" by Hans Werckmeister. In it an alien from the planet Algol gives a coal mine worker the secret of eternal energy who decides not to share this miraculous technological breakthrough because of his absurd selfishness. Instead, in a tragic moment of crass greed he opts for his own enrichment instead of freeing his co-workers from oppressive mechanized work in the coal mines, thus bringing the entire civilization to a state where energy production has moved beyond polluting extractivism.

placed in it, enriching itself and generating a system of undue power, provoking massacres and bloody wars, eliminating wisdoms unrelated to its interests, putting humans at the center of the universe, and making us regress in the constitution of a more harmonious form of relationship with nature. Religion in its relationship with power, unfortunately, lost its way, and forced us to put into practice a system based on the possession of territories and messiahs who save the world from the same threats they raise, turning the belief system of the occult into a method of massive control that distances us from the true sense of connection with invisible energies that we still do not understand. To go deeper into this condition, I will return -in a true act of conceptual reuse- to the texts of the exhibition "Neo Noreshi Towai" held after the 11th Biennial of Media Arts of Santiago called "Hablar en Lenguas" (Speaking in Tongues). This biennial was about the effects caused by the transformation of language, and the collective arrogance caused by the disconnection with the "discarded knowledge" explored from unconventional methods such as those made by Chilean artist Juan Downey. Downey explored the Amazon jungle between 1976 and 1977 and made contact with the Yanomami people, beginning a process of assimilation based on non-verbal languages and an overcoming of the dialectic transfer of knowledge, thus nurturing the constitution of an audiovisual language of his own. One of the nodes of observation and assimilation was the term "Noreshi Towai", which in Yanomami language means "to take the double of a person.

It is this same collective greed that has led us to lose the ability to comprehend the language of waves, clouds, plants and insects. We stopped looking at the sky, and, as a collective, we know nothing about the solstices, the position of the stars and the influence of the moon on the tides. The great secrets of nature are kept hidden from the selfish gaze of our human species. Our great scientific centers have managed to reach the edge of understanding dark matter and dark energy; however, there seems to be more interest in the outcome of a soap opera and unrestrained enrichment than in the consequences of global warming.

This line of reflection based on the duplication of our unconscious, evokes a current state of collective confusion, and the provocation of a radical transformation in the form of relationship between the social and the non-linear narratives that inhabit the internet. Above all, it evoked a duplication of our bodies through the virtualization of our consciousness without needing a physical presence to interact with others, a kind of dark, cold, dehumanized and mechanical "Neo Noreshi Towai". A new religion based on big data, fake news and all the neologisms that evoke the end of the perceptual world as we know it, using the climate crisis to exercise collective fear, and appeal to the political correctness that was once used by jihad, the crusades, fascism, the inquisition and all kinds of extremist ideology represented by the exalted new horsemen of the apocalypse, who move forward with the strength and invisibility provided by social networks.

This lack of communication between humans and the planet has created a disaster (disorder of the stars) that is almost irreversible. This is structural damage in its most basic state, turning us into a plague that aims only to survive without understanding the balance we have disturbed, thus turning our life on Earth into a constant logic of vertigo (Ronald Kay).

The fact is that the climate crisis cannot be solved by using the Internet. Actually, the massive use of servers consumes as much energy as the machines of the industrial revolution. It is perhaps only the possibility of inner exploration, of meditation and travel as an initiation process, a key method to restructure our role as humans on the planet and to transcend our status as a plague.

Religion, that old thermostat that mediates our relationship with the occult, that which is not understood, seems to have taken advantage of the collective faith, violating the trust

In his text "Noreshi Towai", Juan Downey describes a nomadic condition of perception. "Among the Yanomami, film, photography, and since residing in their territory, video, are


el cuarto mundo (the fourth world)



called Noreshi Towai; a term that literally means "to take the double of a person". The Noreshi Towai is the shadow or double of a person and is an integral part of his or her spirit. This dislocation of the identity of being portrayed, from an exo-bipolar and purely anthropological gesture, is further treated by Downey from the astonishment of a modern gaze: "The Yanomami seemed to differentiate between black and white or color. For them representations were a reduction of reality, equally valid or invalid. Only to our Western eyes, which have witnessed the development of photography, cinema, television and their supposed progress from black and white to color, is one or the other system preferable. For them, both are Noreshi Towai, drawing from the shadow or double of a person, but never the people themselves. Black and white or color are two abstractions equally drawn from reality".

From the taming of fire to nuclear fission, we have caused a real structural modification on this planet, yet as depicted in the work Sun and Sea (Marina) by Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė, we continue to sunbathe peacefully, sun that pierces the electromagnetic fields of the planet in a way we were not used to, on a beach where the amount of sand is proportional to the micro-plastics, and in a sea that possibly contains chemical and nuclear elements that invisibly penetrate our internal defense mechanisms, collapsing and destroying us from within. It is as if the punishment of Prometheus who is punished for eternity by taming fire were a warning that translated collectively into massive catastrophes such as Hiroshima or Chernobyl. Yet, how is technology to blame? Perhaps the problem lies in our inability to manage it, to achieve a design of an interconnected and respectful life with our environment where we finally understand that our rights are the same as those of the weeds or the abyssal fish.

Another description of this perceptual transmutation is described in 1964 by Alfred Hitchcock in the Canadian Broadcasting Corporation's "A Talk with Alfred Hitchcock": "I see the possibility, perhaps in the year 3000 or so, of people being entertained - if entertainment is a necessary thing - by going into a darkened auditorium and there being mass hypnotized. And instead of identifying with someone on the screen, they will be that person themselves. When they buy their ticket, they will choose which character they want to be, and under mass hypnotism, they will move through the story. They will be injected with the story as if by telepathy, and they will suffer the agonies.... or enjoy the romance, and then the lights will come on and it will all be over.” Hitchcock's futuristic vision somehow reminds us of what is happening today with virtual and augmented reality in which the assembly of moving images that interact with us in real time present this radical notion of expanded cinema, raising the question about the perceptual condition that our nervous systems are facing. But if for the generation of the 80s, 90s and early 2000s, the influence of video could be found in the political resistance, visual poetry and narrative expansion of cinema; in the later generation, the aesthetics and narrative formats had already been transformed by the use of digital technology and the internet, where access and distribution capacity were drastically modified, simultaneously transforming the concerns and influences of the new filmmakers. Notions such as anguish, irony, globalization, saturation, error and activism can be discovered in the works of filmmakers who seem to find in string literature and the popular lyre, a form of unconscious inspiration for the ironic denunciation that inhabits the Internet. Nowadays we are proud of the industrial and digital revolution, the great historical nodes that have forged the modern world, generating a structural leap in less than two centuries of existence on Earth. Our technological advances are proportional to the pollution and deterioration of the planet, meaning that without extractivism there is no progress in the logic of revolutions based on fossil fuels and big data.


el cuarto mundo (the fourth world)





Direction Enrique Rivera Executive direction Catalina Ossa Executive production Bernardita Pérez, Victoria Guzmán General production Eugenio González Production assistant Verónica Bennett Technical production Amawta Relmu Administration and logistics Graciela Gamboa, Rayen Carimán Museography and installation Florencia Aspèe Architecture Beatriz Palma

Guest curators Juan Ferrer (cl), Mónica Bello (es), Jean Paul Felley (ch), Carol Illanes (cl), Vanja Milena (cl), Nicole Ellena (cl), Maya Errázuriz (cl), Inés Ortega-Márquez (es), Dan Cameron (us).

Translation Hoda Madi, Grato Asesorías Idiomáticas General curating Catalina Valdés, Enrique Rivera Campos Magnéticos curating Ana Rosa Ibáñez Curatorial research Manuel Alvarado Research assistance Daniela Ávila


Biblioteca Patrimonial Recoleta Dominica Technician: Amawta Relmu

Curatorial consultant «100 es un color» show Amarí Pielovski

Escuela de la Intuición

Communications and social networks Francisca Gabler, Javiera Guajardo

General Coordinator Bárbara Chávez

Audiovisual editing and animation Gabriel Ortega

Educational curator Abraham Cruzvillegas

Graphic design Lucía Rosselot, Marco Heredia, Simón Barrera

Escuela Docente Coordinators Claudia Sanhueza

Web development Bruno Cabezas

Escuela Docente Mentors Ragnar Behncke, Lucivanda Lima, Claudia Sanhueza, Cecilia Sotomayor, Antonia Téllez, Carla Vaccaro, Leonardo Valsecchi

Consultants and collaborators Fundación Antenna Communications consultant Watson Branding Installation Teams

Audiovisual development & production Benjamín Matte

Centro Cultural Las Condes Technician: Amawta Relmu, Agustín Herrera

Centro Cultural Gabriela Mistral Installation: Sebastian Gil, Marcelo Garrido, Rodrigo Venegas Museo de Artes Visuales MAVI Technician: Amawta Relmu, Agustín Herrera, Matías Serrano Installation: Amaru Rubio, Felipe Loyola, Patricio Bocca Museo de Arte Contemporáneo Technician: Amawta Relmu, Mirko Petrovich, Agustín Herrera Installation: Diego Arenas, Francisca Correa Museo Nacional de Bellas Artes Technician: Amawta Relmu Installation: Hugo Leonello, Jakin Henríquez, Amaru Rubio, Javiera Yáñez, Héctor Lagos, Diego Arenas

Paulina Martínez, Valeria Moraga, Catalina Obaid, Camila Pimentel, Lourdes Rodríguez, Dalinka Rvera, Zoila Schrojel, Claudia Seguel, Radhe Serey, Amalia Silva, Macarena Silva, Talía Silva 14 Biennial Catalogue Content editing Manuela Ossa, Benjamin Matte, Francisca Gabler Art, design and layout Benjamin Matte, Simón Barrera Translation Margarita Vergara y Sharlene Newman, from MV-Translate

Escuela de Mediación Coordinators Claudia Sanhueza, Catalina Obaid Escuela de Mediación Mentors Gonzalo Bustamante, Valentina Menz, Simón Catalán, Jorge Ortiz Escuela Abierta Researchers Javier Vásquez, David Maulen Educational internship at Artes Visuales, Universidad Alberto Hurtado Valentina Gómez, Diana Jiménez Mediators Ammy Aguilar, Paula Aguilera, Daniela Ávila, Valentina Ávila, Eva Busch, Ljuba Bustos, Yazmín Callejas, Emilia Camus, Rayén Carimán, Marcela Cea, María Elena Cuevas, Joselyn Faúndez, Camila Fernández, María Ignacia Ferrer, Aranza Fuenzalida, Francisca Mena, Valentina Gacitúa, Tamara Galván, María José García, Valentina González, Ana Hernández, Jacqueline Herrera, Fernando Huayquiñir, Yael Inzunza, Javiera Luna, Valeria Mac-Mahon, Richard Maldonado, Carmen Mantilla, María Teresa Márquez,




MNBA Director Fernando Pérez Oyarzún Director’s Secretary Carolina Poblete González

Administration and Finance Alejandro Bley Uribarri, Manuel Arenas Bustos, Marcela Krumm Gili, Roxana Vargas Navarro, Ignacio Gallegos Cerda, Elizabeth Ronda Valdés, Hugo Sepúlveda Cabas, Paola Santibáñez Palomera, Daniela Necul Escobar

Director’s Assistant Catalina Chaigneau Saavedra

Exit and Display Authorization for Works of Art Sebastián Vera Vivanco, Daniela Cornejo Cornejo

Seasonal Exhibitions María de los Ángeles Marchant Lannefranque, Pamela Fuentes Miranda

Museography Hugo Núñez Marcos, Pedro Fuentealba Campos, Marcelo Céspedes Márquez, Gonzalo Espinoza Leiva, Mario Silva Urrutia, Jonathan Echegaray Olivos, Jona Galaz Irarrázabal

Curators Gloria Cortés Aliaga, Paula Honorato Crespo Communications Paula Fiamma Terrazas, Paula Celis Díaz, Romina Díaz Navarrete Institutional Relations Cecilia Chellew Cros Graphic Design Lorena Musa Castillo, Wladimir Marinkovic Ehrenfeld, Sofía Pinchart De La Carrera Mediation and Education Graciela Echiburu Belletti, Francisca Álvarez Rodríguez, María José Cuello González, Matías Cornejo González, Constanza Nilo Ruiz, Mariana Vadell Weiss

Library and Document Center Juan Pablo Muñoz Rojas, Soledad Jaime Marín, Carlos Alarcón Cárdenas, Nadia Contreras Agusto Digital Area Érika Castillo Sáez, Nicole Iroumé Awe, Gonzalo Ramírez Cruz

Enrique Rivera

Catalina Valdés

As a researcher, curator and audiovisual artist, he has been exploring the intersection between the visual arts, cinema and literature since 1995 on 16 mm tape and found slides. These have been displayed in public spaces and concerts with slide projectors, 16 mm and transparencies. In his next period he began using software and digital images, experiencing the transition from analogue to digital. He has curated works by various artists in a number of countries at a range of expositions both in Chile and abroad. In 2007 he began researching the relationships between art and astronomy in Chile and launched an artist-in-residency program at several Astronomical Observatories. He is the President of the Corporación Chilena de Video.

Catalina Valdés is an art historian. She has an undergraduate degree in Spanish-American Language and Literature (2003) and Master's in Literature with a minor in Literary Theory (2007) from the Universidad de Chile, a Máster en Théorie et pratiques du langage et des artes por la École des Hautes Études en Sciences Sociales, Francia (EHESS), and a Doctorate in Art History from the EHESS with a joint mentorship at the Universidad Nacional de San Martín, Argentina. She was a Conicyt postdoctoral researcher and an academic with the Art Department at the Universidad Alberto Hurtado. She is co-editor of the Santiago website Archivo Visual, and an author and editor of books and publications in Chile and abroad. Her lines of research reside at the junction between art history and the visual culture of the natural sciences in Latin America in the 19th century. Her primary objects of study are the visual components of nature, ranging from their material aspects to their artistic and social reach.

Sound and Installation Francisco Leal Lepe, Stephan Aravena Manterola Security Gustavo Mena Mena, Hernán Muñoz Sepúlveda, Eduardo Vargas Jara, Pablo Véliz Díaz, Alejandro Contreras Gutiérrez, Guillermo Mendoza Moreno, Luis Solís Quezada, Warner Morales Coronado, Vicente Lizana Matamala, Patricio Vásquez Calfuén, Héctor Lagos Fernández

Department of Collections and Conservation Eva Cancino Fuentes, Manuel Alvarado Cornejo, María José Escudero Maturana, Eloisa Ide Pizarro Monvoisin en América Research Project Jaime Cuevas Pérez Architecture Francisca Cortínez Albarracín, Magdalena Vergara Vildósola