Vezzosi pointed completely in the other direction, as every now and then we would hear the existential poetry of the nineties sang to the rhythm of rock, che. A model Mexican, a blond Polish gal from Madrid, a Venezuelan rooted in Peru, a Japanese man from Porto, a Brazilian woman that, for security reasons, pretended she was a young man as she crossed the continent, a Costa Rican with an English last name and an Argentine that wasn’t from Buenos Aires; these were the winners of the SACO8 international call. It isn’t necessary to venture into an anthropological analysis in order to realize the heterogeneous nature of the group that had come to execute their works in public places throughout Antofagasta and to make queries into destiny from a variety of angles, in consistency with the diversity found in most contemporary societies. The residency of the seven was written into the history of SACO with the seal of intense work, responsibility and fulfillment of commitments. Everything was ready ahead of time, even the dishes for the culinary event where the artists cooked and talked about the results of their work, or their luggage for the trip to Chiu Chiu, as well as the works on the pier. Undoubtedly, the most noteworthy aspect of the group was their intersecting ideological stances regarding the important issues of our day, like the right of each individual to go about and freely define the place in which they were to live, or the growing shadow of environmental apocalypse becoming increasingly visible, or the importance of looking each other in the eyes, just the same.
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