Artistic dossier (en)

ARTISTIC DO SSIER DIE GO BE RNAS CHINA ___________________________

Project Selection

Diego Bernaschina Biography

Har d of hear ing and m ultifaceted ar tist as v i s ual ar ti s t, des i gner, teac hi ng and i ndependent r es ear c her.

Bachelor of Ar ts, Design and Education, Pr ofes s or i n Ar t and D es i gn at the IN AC AP Tec hnol ogi c al Univer sity of Chile In 2010 he r eceived the F ON D ART Sc hol ar s hi p, gr anted by the N ati onal C ounc i l of Cultur e and Ar ts ( Cur r ent M inistr y of Cu l tur es , Ar ts and H er i tage of C hi l e) , to c onti nue a s tudy of the Diplom a in Digital Gr aphics by the Pontific al C athol i c U ni v er s i ty of C hi l e. Subs equentl y s tudi ed a D i pl om a in Aesthetics and Philosophy by that same hous e of s tudi es of the Ponti fi c al C athol i c U ni v er s i ty of C hi l e.

Between 2018 and 2019 he r eceived a D i pl om a of Ar t i n Ter r i tor i al R epr es entati on at the Sc hool of Ar chitectur e of the Univer sity of Santiago, C hi l e. Si nc e 2003 he has par ti c i pated i n s ev er al s ol o and gr oup exhibitions, festivals and biennials in Chi l e and abr oad. Ac tual l y he w or k s and l i v es at Santi ago of C hi l e.

Artist Statement

As the ar tist, I have been investigating the w ay s i n the s oc i al ar t, foc us i ng on at s oc i al r eal i ty, w her e it’s inter pr eted as the pr ejudice, the disinter es t and the di s gus t tow ar ds the c om m uni c ati v e per c epti on, and their differ ent cr eative pr ocesses of the ar ti s ti c pr oduc ti on: pai nti ngs , di gi tal ar t, photogr aphy and videoar t. In this r espect, the ques ti on of ar t, fr om the s oc i al and c ul tur al . It m ay ther efor e be concluded that the question fr om m ultip l e di ffer ent angl es i s that w e hav e fai l ed to c om e up w i th a consistent m essage. Fr om ther e, I can s ee and feel that the w or k of ar t i s a pos s i bi l i ty to dem ons tr ate this, to question our way of view, to inte r r ogate the gaz e i n the the ar ti s ti c behav i or, i t’s that y ou c an get a cr itical appr oach to our ways of per c ei v i ng the r eal i ty befor e the ex c l udi ng w or l d for the ar t.

D iego B ernaschina (2016) Th e p r e s e n t w o r k tri e s to ma ke a critical r eflection on the differ ent situatio ns and phenom ena of the so c ia l r e a l i t y o f i n cl usi on an d (mul ti) cultur ality. Thus, the social context, th e ar ti s ti c thought and the aes t h e t i c e x p e r ie n ce i n w h i ch i t’s fr am ed. Ther efor e, this pr oject of the m ul ti fac eted w or k ’s — It’s r e la t e d t o v a r i o u s d i sci p l i n e s, b o th the visuality of plastic and gr aphic ar ts as the tec hnol ogy of m edi a and d igi t a l a r t s — to con sta n tl y red e fining their own obstacle towar ds com plex r eal i ty and ( s em i ) hi dden.

Th a t o b j e c t i v e o f the mul ti fa ce te d w or k is not discussed with the politics, nor id eol ogy, but one of the m ai n co n c e r n s a n d s e a rche s of con fl i cts com ing to hum anize the appr oach to the har d r eal i ty, and the hum an bein g i t s e l f a s t h e (de )con structi on o f social identities, and the r ecognition of m eani ng i n v ar i ous ar ti s ti c manifestations, through (audio)visual language (or visual communication), and of versatile and inclusive art.

Die go B ernaschina (2017)

Indices W O RK S

TEXT S

2015 - Tr a d i t i o n a l p a i n t i n g / D i g i t a l p a i n t i n g | P a i n t i n g a n d P h o t o m o n t a g e - Silent conversation | Videoart - Sign code and Life of Chilean Deaf | Videoart

2015 | Memories of faces and communicative perceptions

By Lucía Rey Orrego

2016 - People on the street: Street ride in everyday life | Videoart - Tr i p t y c h : S i l e n c e a n d r e s i s t a n c e | D i g i t a l p h o t o g r a p h y a n d P h o t o m o n t a g e - Llenos de excusas | Digital photography and Photomontage - Fuzzy selfie | Digital photography - Corrupt information | Net.art - The two semi muses | Net.art 2016/17 - Observing in the double look | Video installation 2017 - Hidden faces | Net.art - P h o t o g r a p h i c i n t e r v e n t i o n o f t h e L a b o r a t o r y o f t h e Te m p o r a l G a l l e r y | P h o t o graphy - Loneliness | Photography 2018 - Home is.. a work of art in shoefiti & the swivel chair | Urban shortfilm - Recorrido utópico | Digital photography and Photomontage - Deteriorated identity in social and environmental memory | Digital photography and Photomontage 2019 - Te m b l o r ( i n ) s e n s i b l e | V i d e o i n s t a l l a t i o n + S o u n d a r t ( M e d i a a r t s ) - [Eco]huellas lofoscópicas | Painting - Sea in the light | Installation art

2 0 1 5 | To m a k e a d i f f e r e n c e

By Felipe Baeza Bobadilla 2017 | New sensory paths

By Camila Serrano

ESSAYS / M ON OGR A PH S 2015 | Bringing the experience of an inclusive visual artist PRESS / PUBLICATIONS (Articles - Catalogs - Blog - Magazines)

WORKS

Over all view o f t h e exh ib it io n

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Solo exhi bi ti o n :

Tra ditiona l p ai n t i n g / D ig ita l p a in tin g C ul tura l A rt a n d Tec h n o lo g y C o rp orat ion - ArTeK La R e i n a , Sa n t i a g o , C h ile

I n t h i s e x h ib i ti o n tw o co mpe ti ng for m ats technically ar e pr esented: the tr adi ti onal pai nti ng, one that i s m ade w i th c anoni c al pi gm ents in t h e h i s t o r y o f the fi ne a rts, an d m or e widespr ead knowledge; and digita l pai nti ng, w hi c h i s a new er for m of v i s ual r epr es entati on, to inc lu d e t h e u s e of d i gi tal too l s to p roduce them .

D i e g o Be r na sch i na , a u th o r, this exhibition aim s to r aise its integr ativ e per s pec ti v e on the ar ts , s how i ng the dual i ty of m edi a and f o rma t s p r e s e n t wi thi n the broa d a n d ever incr easing possibilities and pr ocedur al m atĂŠr i c as thi s di s c i pl i ne, c ons i der i ng the need to i nc l ude an d d ev e l o p n e w w a ys to e xp ress cr eative thinking. In this r egar d, ther e is i n thi s pr opos al a di al ogue w i th the m edi a ar ts , c har ac ter i z ed by t h e u s e o f m ech a n i sms o r tech n o logical tools within any par t of the pr odu c ti on pr oc es s of the w or k s .

B e s i d e s t h at, th e mati cal l y, th e wor ks in this show ar e par t of wor k car r ied o ut s i nc e 2010, and w hi c h c or r es pond to r efl ec ti ons on the i dea of ide n t it y, o n e ’s o w n i n d i vi d u a l h a n d , and on the other, a m or e collective, Chilean i denti ty ; the l atter ar i s es par ti c ul ar l y fr om ev ents of r el ev anc e and na t io n a l c o n t i n g ency, i n w hi ch h e a l l u ded or involve a sense of com m unity, and al w ay s as s oc i ated w i th our c ountr y, w hat happens to us , how w e pe rce iv e , w i t h t h is vi sua l p rop o sa l a n attem pt to r espond to the question of who w e ar e, or w hat r epr es ents us as a c om m uni ty and as i ndi v i dual s .

C in d y Ayala, C u r at ed C u lt u r al A r t an d Tech n o lo g y C o r p o r at io n - A r TeK M ay 2015

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Pa i nti n g S e ri e s : C h ilea n Id e n tity (Age of t he Bicent ennial) A c r y l i c / p a p i e r-mâ c h Ê o n c a n va s 44 x 1 5 0 c m .

201 0 -2 0 11

Pa i nti n g S e ri e s : C h ilea n Id e n tity ( Age of t he Bicent ennial) A c r y l i c / p a p i e r-mâ c h é o n c a n va s | 44 x 150 cm. | 2010- 2011

Pa i nti n g s e ri e s : U n title d | Mix e d m edia on paper ( w a te r c o l o r, p a s tel a n d s u g a r) | 27 x 37,5 cm. | 2011

Self - p o r t r ait A cr ylic o n can vas | 72 x 92 cm . | 2013

Po r tr a i t o f my gran d mo th er A c r y l i c o n c a n vas | 1 0 0 x 1 3 0 c m. | 2013

U n kn o wn p o r t r ait A cr ylic o n can vas | 100 x 130 cm . | 2013

O v e r a ll v i e w o f D ig ital p h o to mo n tage in lambda print ing and f oam 52 x 7 0 c m. | 2 012

O v e r a ll v i e w o f D ig ital p h o to mo n tage in lambda print ing and f oam 52 x 7 0 c m. | 2 012

Obser ving the sk y Digital photom ontage in lambda pr i nti ng and foam 52 x 70 cm .

2012

O b s e rvi n g th e e a rth Dig it a l p h o t o m on ta g e i n l ambd a p ri nting an d fo a m 5 2 x 7 0 cm.

2012

T hunder and l i ghtni ng D i gi tal photom ontage i n l am bda pr i nti ng and foam 52 x 70 c m .

2012

T he four el em ents : Ai r, Water, Ear th and F i r e D i gi tal photom ontage i n l am bda pr i nti ng and foam 42 x 60 c m .

2012

M ain f acad e o f t h e N at io n al M u seu m o f F in e A r t s in San t iag o , C h ile o n t h e in au g u r at io n o f t h e 12t h B ien n ial o f M ed ia A r t s in 2015.

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Sel ected i n th e I n t e r n a t i o n a l Co mp e t it io n J u a n Do wn e y a t t h e 12th B iennial of Media A rts: “S peaking in Tong ues” :

S i l ent c onversat i o n

C hi l e a n N a t i o n al Mu s e u m o f F in e Art s Sa nti a g o , C h i l e

S p e a k i n g i n To n g u e s, o r de struction and tr ansfor m ation of language, is i ns pi r ed by the s tor y of the Tow er of Babel m y th i n w hi c h the arch a ic G o d d o es n o t a cce p t men w ant to get to heaven, and ther efor e, divid e hum an l anguage, c r eati ng a s pac e for c ol l ec ti v e c onfus i on.

T h i s m e t a ph o r, i n o u r ce n tu ry, could be associated with the existence o f i nter net, di gi tal pl atfor m has bec om e a k i nd of neo Tow er of Ba b e l, w h e r e d i v ersi fi cati on o f l an g uages conver ge in a com m on space, stan dar di z i ng and enhanc i ng the gl obal di al ogue, and deter m i ni ng ne w f o r m s o f c o nfusi on a n d rese a rch and social, cultur al, econom ic and poli ti c al pr oduc ti on.

T h e 1 2 t h Bi e n n i al Me d i a A rts pr oposed to r ecognize the liter ar y and li ngui s ti c r oots of ar t em er gi ng fr om the us e of di gi tal m edi a, a pra ct ic e d e t e r m i ned bo th by the use of electr icity as algor ithm ic languages. A l l thi s by s ugges ti on, obs er v ati on, ex hi bi ti on and r es ear c h and sy s t e m a t i z a t i o n of w orks bo rn o f th e r elationship between language, the ar ts , s c i enc e and tec hnol ogy.

We a l s o w ond e r w h a t i s the l anguage of this em er ging digital cultur e? W hat ar e the “ v oc abul ar y ” us ed by the m edi a ar ts to c om pos e sy m b o l i c n a r r a t i ves, q u e sti on s, cri ti c ism s and contr ibutions to this new cultur al par adi gm ? Is ther e a r el ati ons hi p betw een the l anguage of an cie nt c i v i l i z a t i o n s an d the pe o p l e who self- constr ucted visual im ager y? ju s t to gener ate a new r efl ec ti on on w hat i t i s , i t has been and will b e t h e l a n g u a g e .

En r iq u e R iver a D ir ect o r o f t h e M ed ia o f A r t s B ien n ial 2015

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A g r o u p o f g ir ls an d wo m en wit h h ear in g im p air m en t , sp o ken wit h h is h an d s. T h is sig n lan g u ag e is a t yp e o f co m m u n icat io n t h at u ses n at u r ally d eaf p eo p le. M an y h ear in g p eo p le d o n o t u n d er st an d t h e o b st acles t o g o o d g est u r al co m m u n icat io n .

D ieg o B er n asch in a ( 2015)

C a pture o f Si l e nt co n v e rs a tio n 11 :2 9 mi n . | Vi d eo art | H D | 20 1 5

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Out standi ng w o r k s :

S i g n c ode an d L i f e o f C h ile a n D e a f Tex t about the v i d e o a r t w o r k o f Sig n c o d e a n d L if e o f Ch ile a n D eaf

D i e g o B e r na sch i na p l ace s h i s wor k, using a non- ver bal own m essage of the C hi l ean deaf c om m uni ty. A ges tur al pr oduc ti on and spe c if ic v i s u a l p erce p ti on . C ol l e cti ng differ ent scenes extr acted fr om r eal situati ons , i m ages of tel ev i s i on and the c y ber s pac e and the s i gn lan g u a g e , p r o d u c es vi de o s th a t a sp ir e to br ing their r eality closer to a wider audi enc e.

Cat alin a Tu ca & M at ías L ab b é, C h ilean visu al ar t ist s ( 2015)

Wo r k exhi bi te d i n : 20 1 8 | I I n t e r n a t io n a l Me e ti ng o f D eaf Ar t. Cultur al Par k of Valpar aíso ( Ex- Ja i l ) | Val par aís o, C hi l e.

Tex t about the v i d e o a r t w o r k o f Sig n c o d e

U s i n g a p r op ri e ta ry n o n -verba l m essage fr om the Chilean deaf com m unity, the w or k c ol l ec ts di ffer ent s c enes dr aw n fr om r eal s i tuati ons — im a g e s o f t e l e vi si o n , cyb e rspa ce , and sign language— to cr eate a specific ges tur al pr oduc ti on and v i s ual per c epti on that ai m s to br i ng a wid e r au d i e n c e to th e i r rea l i ty.

Wo r ks exhi bi t e d o f S i g n c o d e in : 20 1 6 | A l l i n o n e . P i azza Marti ri d e l l a Liber tà | Chiar i, Italy.

20 1 6 | 8 t h Es p a c i o E n te r C a n a ri a s. Tener ife Space of Ar ts | Canar y Islands, Spai n.

20 1 6 | O F F T H E WA LL | Ma d i son , W I, USA.

Sim o n e D o in g & M ax Pu ch alsky C u r at o r ial B o ar d - OF F T H E WA L L M ad iso n , W I, U SA ( 2016)

Tex t about the v i d e o a r t w o r k o f L if e o f Ch ile a n De a f

D i e g o B e r na sch i na i n hi s w ork s uses m essages r ather than ver bal com m uni c ati on to pr es ent C hi l ean deaf; a ges tur al , ges ti c ul ati v e pro d u c t i o n o f s p e ci fi c vi su a l p e rcep tion, collects differ ent scenes dr awn fr om r eal l i fe s i tuati ons , i m ages fr om tel ev i s i on and c y ber s pac e, als o in c o r p o r a t i ng si gn l an g u a g e . H e pr oduces videos aim ing to br ing their r eal i ty to a w i der audi enc e.

Curat orial t eam - T h e In t er n at io n al Vid eo F est ival “ D ig it alB ig Scr een �

Tr b o vlje, Slo ven ia ( 2017) .

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C a pture o f L i f e o f C h ilea n D e a f 2: 2 3 m i n . | Vi d e o art | D V | 2 0 1 5

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C ap t u r e o f Sig n co d e 1: 48 m in . | Vid eo ar t | D V | 2015

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Out standi ng w o r k s :

P eo ple on t h e st reet : S tr e e t r id e in e v e r y d a y life D escr i pti on:

M y w o r k r ep rese n ts a pi l o t project of video ar t, wher e they ar e com bi ned a hi gh s oc i al i nequal i ty on the c r i s i s of m i ddl e c l as s and ext re m e e c o n o m i c vu l ne rab i l i ty. T hi s pr oject is a ser ies of videos that it have been al ter ed thr ough adj us tm ent l ay er s and v i deo effec ts . In t h is p ro j e c t i s u se d an ob se rvati on al appr oach for his visual aesthetic it foc us ed on l oc ati ons ( the pl ac es per ti nent to Santi ago’s l i fe) to exp re s s t h e i n f l uen ce o f e n vi ro n ments in politics, social class and psycholog y.

D ieg o B er n asch in a ( 2016)

Wo r ks exhi bi t e d i n : 20 1 8 | I I n t e r n a t io n a l Me e ti ng o f D eaf Ar t. Cultur al Par k of Valpar aíso ( Ex- Ja i l ) | Val par aís o, C hi l e.

20 1 6 | M i a m i N e w Me d i a F esti val . P ér ez Ar t M useum M iam i | M aim i, FL, USA .

20 1 6 | Vi d e a d a 0 8 : “Vi d e o s In e sta b l es” . El Galpón Espacio | Lim a, Per u.

Captur e of People on the str eet: Str eet r i de i n ev er y day l i fe 3:49 m in. | Videoar t | H D | 2016

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Th e RE THi nk A r t D i g i t a l F e s t i v a l:

Tri p ty ch: Si l en ce an d re s is ta n c e H ous e o f C u l t u r e R e thy m n o , C re t e, Gre e c e

Ov er vi ew :

I t’s a b e h avi or of resi stan ce on the individual or collective ver sus ac c es s i bl e equal i ty, w hi c h pr ev ent to hav e a pos i ti v e v al ue to con s e r v e t h e v a lu a b l e h a b i ts. Wi th this pr oject of m anipulation of photogr aphi c i m ages , i t c or r es ponds a m eani ng thr ough the el em ents and t e ch n iqu e s , i n w h i ch i t i s con structe d an im aginar y space. After br eaking the di al ogue and the dem ands on c i ti z ens to s ol v e the pr obl em s of acc e s s i b i l i t y, s i n ce the y can ’ t co mmunicate with the voice and ear s, at the sa m e ti m e, they ar e abl e to bui l d and tr ans m i t v i s ual i nfor m ati on.

D ieg o B er n asch in a ( 2016)

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Tript ych: Silence and r esist an ce Digit al phot ography in laser prin t er o n co at ed p ap er 300 x 133 cm.

2016

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XI I I Festi val “ I m a g i n a S a n J a vie r”:

Ll e nos de excu sas

Inte r v en t i o n i n th e Mae s tre S q u a re Sa n J a v i e r, M u r c ia , S p ain

Ov er vi ew :

I f w e u n d e r stan d th a t th e ci ti zens to par ticipate in all contexts and situati ons of uni v er s al dependenc y, both per s onal and em oti onal , t o re co g n i z e t h e art as a to o l of tran sfor m ation and social inclusion.

I n t h i s p r o j e ct of di gi tal p h o tom ontage and collage, it’s about evidenc e of a pr opos i ti on w hos e c ontent of the pow er and s oc i al im b a la n c e , t h e e xch a n g e o f e xp e ri e nces on the par ticipation of young people and adul ts i n the dem oc r ati c l i fe ar e pr ev ented.

D ieg o B er n asch in a ( 2016)

Sam ples of photogr aphic wor ks ( Pr epr oduction phase) : 1 & 2: Reflection on the gender ( I- II) 3 & 4: Reflection on the educ ati on ( l - l l ) 5 & 6: Reflection on the la bor m ar k et ( l - II)

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3

5

2

4

6

D escr i pti on:

L l e n o s d e excu sa s (i n sp a n i sh of “ Full of excuses” ) pr esents a ser ies of por tr ai ts and phr as es of ex c us e as a m eans of ex pr es s i on to cr e a t e a n o p e n spa ce fo r re fl ecti on on the sociocultur al context, in r elation t o the hum an v al ues that fac i l i tate or hi nder the ov er c om i ng of ad ve rs i t y a n d s oci al & po l i ti cal re sp onsibility, since this can be pr om oted wi th the par ti c i pati on of al l ac tor s i n s oc i ety.

W i t h t h i s pro j ect, un d e rstan d these digital m edia within a pr ocess of tr ans for m ati on, of hi gh ex per i m ent i n w hi c h an open s pac e i s con s t ru c t e d t h a t must a i m to crea te the r eflection on im aginar y por tr ait or m e s s age of por tr ai t, thr ough the appr oac h to photogr aphy as the ob je c t o f s t u d y o f th e soci ol og y of art. This is constr ucted his own im aginar y por tr ai t as of the c hoi c e of i m ages that pr es ents as a c om pl ai nt f o r d isc r i m i n a t i on arbi tra ry a g a i nst the m anipulation of photogr aphic im ages i n adv er ti s i ng and / or the m edi a i n gener al . In thi s w ay of pro d u c t i o n o f t h e p h o to g rap h s i n the m edia of com m unication and the pr ess , i .e., thos e that ar e ex hi bi ted i n the m agaz i nes , new s paper s or a d ve r t i s e m e n ts. T h e refo re, w e ca n r eflect the im aginar y por tr ait, thr ough the c hos en phr as es to c om pos e the tex t that ac c om pani es the dig it a l p h o t o g r a ph y.

T h i s p r o c e s s of man i pu l ati on o f photogr aphic im ages, cor r esponds a meani ng thr ough the el em ents and tec hni ques that they pr epar e t h e v isu a l i t y c a p tured of w a y spo n ta neous or im m ediate. We can inter pr et the s e di gi tal m edi a w i thi n the c ul tur al c ontex t. T hus , i n the pi c tur e t h e re i s s o m e t h i n g tha t can no t communicate with the voice and ear s, and a t the s am e ti m e, a m eani ng abl e to c ons tr uc t and tr ans m i t the vi s u a l i n f o r m a t i o n .

D ieg o B er n asch in a ( 2016)

Photo galler y: Llenos de excusas | Digital photom ontage and c ol l age on c anv as pr i nt | 150 x 150 c m .

Inter venti on i n the M aes tr e Squar e. San J av i er, M ur c i a, Spai n | 2016 Im age c our tes y of: C ar l os N i c ol ás Al ar c ón - F es ti v al IM AGIN A’ 16

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Onlin e exhi bit i o n o f P u r s u i t o f Erro r:

D i g i tal pho t o g rap h y: F u z z y s e lfie C he s h i re , U K

D escr i pti on:

I t o o k m y ow n S L R (si ng l e-l e n s r eflex cam er a) thr ough an cam er a lens ( foc us l ens ) , as w el l as an i nv i s i bl e m i r r or for a new pr ac ti c e an d / o r a r t i s t i c s i mul ati on of the sel f-por tr ait. However, a digital cam er a towards the IR ( i nfr ar ed) photogr aphy i n fr ont of m y ey es . It’s tak i ng pic t u re s w i t h t h e l i gh t w h i ch i s ou tsi de the spectr um that they ar e unable to s ee w i th our ow n ey es . T her efor e, thi s l i ght i s too s ens i ti v e to ou r se n s e i n t h e da rk. i t’s d i ffi cul t to keep fr ont of the IR photogr aphy thr ough the SLR .

D ieg o B er n asch in a ( 2016)

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Onlin e exhi bit i o n o f E D A P r o je c t Sp a c e :

C o rrupt info rmat i o n M o nte v i d e o , U ru g u a y

M y f i r s t w ork o f th e a rtw o rk of Net.ar t “ Cor r upt infor m ation” and m y fir s t onl i ne ex hi bi ti on of the ED A Pr oj ec t Spac e: ht t p : / / e d a p r o j e c t .spa ce /i nd e x.h tml D ieg o B er n asch in a ( 2016)

Captur e of webar t

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Onlin e exhi bit i o n o f L e a p S e co n d F e s t iv a l 2 0 1 6 :

Th e two s emi mu ses

A w e b s i t e c o n ta i ni ng a n a n i ma ted gif and shor t texts. The tim e that elaps es at the begi nni ng of a new l ook t h ro u g h t h e p r o b l ems of co n n e cti vi ty with the networ k.

D ieg o B er n asch in a ( 2016)

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P rep arin g th e inst allat ion of video inst allat ion at th e R ep Ăş b lica 289 Gallery in CamagĂźey, Cuba

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7t h In ter nati o n a l Vi d e o a r t F e st iv a l o f Ca ma g ü e y :

Ob s er ving i n t h e d o u b le lo o k R e púb l i c a 2 8 9 Ga lle ry C a m a g ü e y, C u b a

D escr i pti on:

I t` s a v i d e oi n sta l l a ti on w i th tw o sim ultaneous pr ojections on the wall. In eac h pr oj ec ti on ther e’s a di ffer ent i m age bec aus e i t us es t w o vide o c h a n ne l s. In e a ch vi de o ’s r econstr ucted a landscape of the sky and a s er i es of i nv i s i bl e por tr ai ts . T he s ound that i nv ades a son o ro u s o a s i s c o mes fro m a n au d i o sour ce ( a one channel) and allows to lis ten to the i ns tr um ental s ound. W hen the v i ew er enter s i nto thi s de vice v i d e o i n s t al a ci on a l b e tw ee n the two channels. As it can be appr eciated, the dev i c e’s v er y s i m pl e, al though the r es ul ti ng effec t’s v er y dis t u rb i n g a n d a gi tati ng . T ha t a re p ur sued two objectives to power : cr eate a s ti m ul us to pr ov ok e a s ens ati on, the i nv es tm ent / i nc l us i on of a su b jec t i n a s p a ce w he re i t ob se rv es and cr eates a tension between the tw o pr oj ec ted i m ages at the s am e ti m e on s epar ate s c r eens .

D ieg o B er n asch in a ( 2016- 17)

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O bs e r vi n g i n t h e d o u b le lo o k | Video inst allat ion | Video HD | 2 channels | So und : “ L i t t l e Jo u rn ey ” b y Matías Serrano Acevedo ( Chile) | 4: 58 min. | 2016- 2017

O bs e r vi n g i n t h e d o u b le lo o k | Video inst allat ion | Video HD | 2 channels | So und : “ L i t t l e Jo u rn ey ” b y Matías Serrano Acevedo ( Chile) | 4: 58 min. | 2016- 2017

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Onlin e exhi bit i o n - N e a r - F i e l d Co mmu n ic a t io n Dig it a l Art Bie nnale (#nfcdab) – III E dition:

H i d de n fa ces

In s e v e ra l p l a c es in E u ro p e o f: G o l, Norway; Warsaw, Poland, Amst erdam , t h e N et h er lan d s, Va l e nc i a , S p a i n a n d D ü s s e ld o rf, Germany.

D escr i pti on:

H i d d e n f a c e s co rre sp o n d a se ar ch for tr uth and str uggle. So, the hidde n thoughts , fac ts and feel i ngs that hi de behi nd the fac es . T he ph e n o m e n o n o f ne w tech n o l og i es’s allowed to digitally m anipulate the wor k to c r eate the gr aphi c and ar ti s ti c r epr oduc ti ons .

D ieg o B er n asch in a ( 2017)

Photos : C aptur e of the w ebs i te of http://noem ata.net Hidden faces | Net.art with GIF, HTML5CSS3, Webart | 2017

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Art [i n space] p u b l i c :

P h o togr aph i c i n t erven t io n o f th e L a b o r a to r y o f the Tem por al Galler y Inte r v en t i o n i n th e F ran klin N e ig h borhood ( Placer wit h San Diego) Sa nti a g o , C h i l e

Press r el ease :

To p r o v o k e the qu e sti on i ng of the tr ansients, this inter vention was car r i ed out that has a s er i es of photogr aphs tak en of m i gr ants , wh ich a r e a c c o mp a n i ed b y refl ecti ons and com m ents about their exper iences i n the c ountr y, as w el l as a tex t that tal k s about the di s tanc e t h a t e x i s t s b e t w een the re a l i ty an d the per ception of the r espondents. “ We hav e c om m uni c ati on m edi a that r epr oduc e es tabl i s hed pow er dis c o u r s e s , a n o b so l ete mi g rato ry l aw m ade in the dictator ship and oppor tuni s t pr es i denti al c andi dates that i n thes e ti m es they m ak e the int e g ra t i o n p r o c ess more di ffi cul t a m ong those who m igr ate looking for new o ppor tuni ti es and a l ar ge par t of C hi l eans , w hi c h ar en’ t pr oper l y re p o rt e d a n d w h i ch a l so d o n ’ t ha ve em pathy with this r eality, so global and c y c l i c al “ , c onc l udes [C hi l ean photogr apher, C r i s ti an] Oc hoa.

Art icle of “Phot ography w o r ksh o p o n m ig r at io n exp o ses h is wo r ks in p u b lic sp ace” B y M ar ía Gr aciela L ó p ez D ig it al p r ess o f B io B io C h ile o n 17/10/2017 F u en t e ( in Sp an ish ) : h t t p : //r b b .cl/i9d 7

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Wo r k in In t er ven t io n “ M ig r at o r y o b ject s h ave a g o o d m em o r y o f an cien t h ist o r y�

Pr in t in g o n p ap er | 125 x 45 cm .

Int ervent ion in t he Franklin Nei g h b o r h o o d ( Placer wit h San D ieg o ) , San t iag o , C h ile | 2017 Im ag e co u r t esy o f : F elip e C u r a - Tem p o r ar y Galler y

Ou t sid e o f t h e C asa M u seu So led ad e M alvar in Vila N o va d e F am alicĂŁo , Po r t u g al.

Im ag e co u r t esy o f : M ig u el F er r eir a - F est ival B IN N A R 2017

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Fe sti val de Art e B I N N A R :

Lo n eliness

C a s a M u s e u So led ad e Malv a r Vil a No v a d e F ama lic ĂŁ o , P o rtu g al

Sy no psi s:

T h i s w o r k r e p rese n ts a p rese n ce of the loneliness of the long- lived m an. As w el l as a m i s er abl e of s oc i ety that pr ev ents fr om hav i ng a go o d b e n e f i t f o r the e l de rl y i n a si tuation of pover ty. Disadvantage in nutr itio n, ac c es s to heal th, ec onom y, etc ., for w el l - bei ng of the di r ec t dis t rib u t i o n o f i n co me i nco me co rre sponding to the whole population, especi al l y of that c ul tur e of s oc i al pov er ty.

D ieg o B er n asch in a ( 2017)

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L o n elin ess D ig it al p h o t o g r ap h y o n p asse- p ar t o u t 40 x 50 cm . | 2017 Im ag e co u r t esy o f : M ig u el F er r eir a F est ival B IN N A R | 2017

Ou t sid e o f t h e F r ed r iksb er g lib r ar y in C o p en h ag en ( D en m ar k) Yo u Tu b e cap t u r e o f On e- Of f M o vin g Im ag e F est ival 2018

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60 Seconds S h o r t F i l m F e s t i v a l – XI Ed it io n ( in c o lla b o ra t io n with One-Off Moving Image Festival – I Ed i ti on):

H o m e is.. a w o rk o f art in s h o e fiti & th e s wiv e l c hair

U r b a n s h o rt f i l m in C o p e n h a g en , D enmark | Àngel Guimerà st at ion of t he M et r o valen cia in Valen cia, Sp ain | N et

D escr i pti on o f H o m e i s a w o r k o f a r t in sh o e fiti:

T h i s w o r k w as re co rde d a tou r ist place of Valpar aiso. It was also r ecogni z ed by the U N ESC O Wor l d H er i tage Si te i n 2003. F or the pra ct ic e o f s t r e et a rt tha t po i nts to the gam e of the wor ds “ shoefiti” ( shoe and gr affi ti ) to w or s hi p the m y s ter y of the hangi ng s hoes i n a his t o ric a l a n d s o ci al con te xt.

D ieg o B er n asch in a ( 2018)

In the next page: C aptur e of v i deo: H om e i s .. a w or k of ar t i n s hoefi ti i n 1 m i n.

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Captur e of video: The swivel c hai r i n 1 s ec .

D et ail in wo r k o f R et r at o s in vo lu n t ar io s ( II) 2018

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Per sonal w or k :

R e corrido Ut ó p i co ( Ut op ia n To u r ) D i gi ta l P h o t o g ra p h y a n d P h o to mo nt age Va r i a b l e d i m e n sio n

A r t a n d s o c i ety h a ve b e e n a constant binom ial in the histor y of ar t. The pr es ent w o rk s i n t h i s e x hi b i ti o n h a ve a s a n ucleus the union of both to gener ate a r efl ec ti on i n th e s p e c t a t o r.

R e c o r r i d o U tóp i co (U to p i an Tour ) seeks to r elate theor ies about soc i al utopi a and t he r u p t u r e o f the i mag e , to pr oblem atize the inclusion in the ur ban ter r i tor y, th ro u g h i m a g e s i nte rven e d by di gi tal m edia, which pr etend to be tour ist r outes thr ough di ff e re n t p o i n t s of S an ti ag o , C h i l e , which ar e inter connected but that also r epr es ent sp a c e s o f e x c l u s i on .

M aría José M art ínez , C u r at o r 2018

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Tr iple ejes de coor denadas c onfus as Photom ontage on pr inting i n popl i n 165 x 300 c m 2017

R e trato s i nvo l untar ios ( I- I I) | Photom ontage on canvas pr i nti ng | 165 x 100 c m | 2017 ( D etai l s )

P ol Ă­pti co reco rrido utĂłpico ( I) | Photom ontage on canvas pr i nti ng | 300 x 100 c m | 2017 ( D etai l s )

C u ĂĄ d rup l e rostro / tiple texto ( Tr Ă­ptico) | Photom ontage on c anv as pr i nti ng | 150 x 100 c m | 2017 ( D etai l s )

In au g u r at io n o f t h e exh ib it io n D et er io r at ed id en t it y in so cial an d en vir o n m en t al m em o r y2018

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Ind i vi dual exh i b i t i o n :

D e t e riorate d i d en t i t y i n s o c ia l a n d e n v ir o n m e n tal m em or y C e ntr o B i b l i o t e ca rio d e P u en te A lt o Sa nti a g o , C h i l e

T h i s e x h i b i ti o n i s compo se d o f 25 digital im pr essions of faces that hav e been m ani pul ated to r ec r eate s oc i al s tr ange c ondi ti ons and Co n f u s i n g e n v i r onmen t, w hi ch g e n e r ate lim itations such as stigm a —br and or s i gnal i n the body — and that l ead the hum an bei ng to s tr i v e f o r ma k e l e s s v i si bl e a n d resp o n d to the dem ands built and tr ansm itted by s oc i ety thr ough m em or y, i denti ty and env i r onm ent.

I t i n v i t e s t o e xa mi n e th e m i n d epth, as expr essive for m s gener ating m e m or y and l i v ed ex per i enc es .

D ieg o B er n asch in a ( 2018)

Pa nor ami c p h o to s : G e ne r al v i s i t o f th e e x h ib itio n 201 8

Pr evia in au g u r aciรณ n d e la exp o siciรณ n in clu siva Tem b lo r ( in ) sen sib le en C EN T EX 2019

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Inc l us i ve (and s o l o ) e x h i b i t i o n :

Tem blor (in) sen si b l e

A nte -h a l l G a l l e ry o f th e E x ten sio n Cent er of t he M inist ry of Cult ure, Art s an d H er it ag e Va l pa ra í s o , C h i le

Ma i n descr i pt i o n :

T h e v i d e o - i n sta l l a ti on proj ect Tem blor ( In) sensible is a study of vibr ator y behav i or on a geogr aphi c al appr oac h to m edi al l anguage (s o u n d a r t a n d exp e ri men ta l vi d e o ).

I t s e e k s t o p rote ct th e l i fe o f each per son to pr ove the ar tistic pr actic e i n the s oc i al c ontex t thr ough s ei s m i c ter r i tor y and c l i m ate cha n g e . T h i s p r acti ce d e fi ne s th e vi deo as a m eans of visual- sound cr eation to ex per i m ent i n di ffer ent s pac es thr ough s udden m ov em ents an d mor e p o w e r fu l vi b rato ry sou n d s.

T h e e x h i b i ti o n p roj ect resp o n d s to an appr oach of silence —like a tes t w i thout i nner noi s es — , i n w hi c h the w or k ex pr es s es s ens or y exp e rien c e s u n de r the e ffects o f p rolonged vibr ator y stim ulation.

T h u s , t h e cre a ti on of bo d i l y vi br ations or sensitivities to ( r e) tr igger r es pons es thr ough the ner v ous s y s tem depends on the s ens es of t h e h e a r i n g s p e c tato rs.

D ieg o B er n asch in a ( 2019)

On the ne x t page: Ser i es of i m ages of w or k # 1 i n the Ante- hal l Gal l er y Wor k #1: Tem blor ( in) sensible | Installati on ( H D v i deo of m i ni - pr oj ec ti ons , 1 ac ti v e box of 400 w atts , 9 r ecycled Eur opean pal l ets and 2 box es of r ec y c l ed w ood for fr ui ts and v egetabl es ) | Var i abl e s i z e | 2019

Wo rk # 2 : Pr e d i cti on a b o u t th e w arning of the danger of viewer s | 2 videoar t s | So u n d o f “ Te r r e mo to ” by so u n d a rti st, M atías Ser r ano Acevedo ( Chile) | HD | 4:44 m i n. ( eac h v i deo) | 2019

Captur e of the 2 videoar ts of both w or k s .

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Se con dar y de s c r i p t i o n ( r e l a t ed t o t h e v ib ra t o ry s o u n d ) :

S e n s o r y e xp e ri e n ce

I r e m e m b e r the ba th roo m o n the second floor in the m eantim e washing m y hands that I fel t a l ot of noi s e w i th s ounds fr om the bar an d , f u l l o f w h i s pe rs w i th th e yo u n g people. Suddenly, I was tr em bling slowly as i f y ou w er e w i th the w av e ( up and dow n) . I l ook ed w i th the mirro r, b e h i n d t he yo u n g p e o p l e th e y stir r ed like scr eam s and sudden m ovem ents . It w as s ti l l s hak i ng at the s am e ti m e, w atc hi ng w i th the stre a m o f w a t e r tha t move d o n b o th sides. All the young people wer e full of s c r eam s and m i x ed s ounds ( I c an’ t k now the nam e of the s ong, be ca u s e I ’ m d e a f an d i mp o ssi bl e to hear ) to over whelm their panics and thei r fol l i es to es c ape.

I t k e p t g o i ng d o w n a smal l sta ir case suppor ted by the wall, but I alm os t s tepped to av oi d the fal l and the c r us hi ng s o ter r i bl e. T hank go o d n es s i n m y mi n d I w as co n trol l ed and r eacted to hold with a str ong blow of m y pal m together and m y bac k on w al l . It k ept goi ng dow n a st a irc a s e t o t h e e sca p e rou te . It continued in a thousand scr eam s and sudden m ov em ents .

I l o o k e d a t th e i nsi de o f th e b ar to get together with m y gir l fr iends and they di s appear ed. Ex i ti ng w i th es c ape r oute r i ght at the ex i t wit h a h u g e s p a r k (sh o rt ci rcu i t) through the electr ic cable. A gr eat blackout and i m pos s i bl e to s ee the l i ght. U nfor tunatel y I s aw a dar k nes s ; I re v o lv e d i n m y he a d on bo th si d e s to r e- find m y gir l fr iends. A gir l fr iend r ea c ted w i th the s i gns of “ s al ute” ( ar m ex tended w i th m ov em ent i n op e n h a n d s a l u t e) to vi su a l i ze the si gnal towar ds the r eencounter. It appr oac hed and hugged s ev er al fr i ends al ong w i th an ur ban l am ppos t.

Alt h o u g h i t k e p t trembl i n g stro n g l y a nd violently along with a couple lam ppos t l i ght and i t c onti nued the m os t pow er ful ear thquak e i n s ev er al min u t e s r e g a r d l e ss o f th e d u rati on until the fur y of tectonic plate ends.

Te s t i m o n y o f th e a rti st d u ri n g the ear thquake of 27F ( Febr uar y 27) in Santi ago [of C hi l e].

D ieg o B er n asch in a ( 2019)

In au g u r at io n o f t h e co llect ive exh ib it io n C o n t u y r eg io n , a cu lt u r al sp ace in t h e C h im ko we A r t Galler y 2019

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Co l l ecti ve exh i b i t i o n “ C o n t u y Re g io n , a c u lt u ra l s p a c e ”:

[ E c o]huellas l o f o scó p i c a s

C hi m ko w e A rt G alle ry, P eñ alo lén Cult ural Corporat ion Sa nti a g o , C h i l e

B r i ef descr i pt i o n :

[ E c o ] h u e l l as l ofo scó p i cas (“L o foscopic [eco]pr ints” in Spanish) cor r espo nds to a di m ens i onal pol y pty c h i n m i x ed tec hni que on l am i nated wo o d . T h i s p r o p osa l de ve l op s a n a rtistic exper im entation r elated to the m ixtur e of or gani c m ater i al and s ens i ti z ati on i n di ffer ent s ens es to re c re a t e , a n d p r e se rve th e e n vi ro n m ent. Likewise, in each table of lam inated w ood i t r epr es ents the four el em ents of natur e: w ater - fi r eea rt h -ai r. T h e r e f o re, o u r p roj ect i n te r venes an educational pr actice to im pr ov e the new env i r onm ental c ul tur e and s us tai nabl e dev el opm ent.

D ieg o B er n asch in a ( 2018)

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On the nex t page: Ser i es of i m ages i n the C hi m k ow e Ar t Gal l er y

[ Eco] hu ellas lo f o scó p icas M ixed m ed ia an d f o u n d o b ject s( * ) n lam in at ed wo o d 20x130 cm . ( each o n e) 2018 (*) T he y ’ re p a rt s o f th e re c y c le d m at erials out side t he Art ist ic Residenc e o f C o m ar ca Co ntuy w i t h i n t h e p lac e o f Qu eile n on t he island of Chiloé in 2018.

Over all view o f t h e exh ib it io n in El Per al H all o f Valp ar aĂ­so 2019

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Solo exhi bi ti o n :

S ea in the l i g h t

El P e r a l H a l l ( i ns id e o f lift), Yu g o slav Walk, Alegre Hill.

Va l pa ra í s o , C h i le.

D escr i pti on:

T h i s w o r k rep rese n ts a seri e s of r ecycled objects of tr anspar ent plasti c bottl es thr ough the C hi l ean s ea l i ght on the c onc er n of the en viro nm e n t . O u r ci vi l i za ti on ’s a pa rt of the m iser y life of plastic gar bage. As w el l as the bottl e that thr ow s a thous and w ay s to s ur v i v e fr om aq u a t ic b i o d i v e r si ty; a n d i t w i l l be i mpossible hope in the battle of cleaning up m ar i ne pol l uti on.

S e a i n t h e l i g h t a i ms to th e studies of m icr o- gar bage that m oves a lot on the s ur fac e: ac c um ul ati on of fl oati ng gar bage i n thous ands of kilo m e t e r s a r o u n d th e co u n try. To o m uch super flow of plastic objects and z er o env i r onm ental c om m i tm ent to i m pr ov e the pr ev enti on of t h e c o n s u m p t i o n of pl asti cs. A b se n ce of sustainable developm ent to pr oduce and guar antee the r es pons i bi l i ty of hum an bei ngs . Our des i r es ha ve b e e n a b a n do n e d i n th e te a ch i ng of the envir onm ent. Ever y day it expands fas ter thr ough the abs ent m es s age. N obody r egr ets and jus t h id e s t h e t r ea su re messa g e a n d the plastic bottles in the sea, they’r e a gr eat thr eat i n the oc eans .

D ieg o B er n asch in a ( 2019)

Installation art (100 recycled plastic bottles with object found in fluorescent paint - 4 gutter holders and ultraviolet light tube) | Variable size

On the nex t page: Ser i es of i m ages i n El Per al H al l

TEXTS

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M emories o f f aces an d c o m m u n ic a tiv e p e r c e p tions B y Luc Ă­ a R e y O r re g o , T h e o retica l of Lat in American Art

T h e w o r k o f D i e g o B e rna sch i na oper ates in the sym bolic codes of the c om m uni c ati v e pos s i bi l i ti es of a fac e. It w or k s w i th the di r ec t exp re s s i v e n e s s of th e p o rtra i t a n d with the r elationship which establishes the per c epti on of thi s w i th s om e ex ter nal el em ent, i n thi s c as e, en viro nm e n t a l . I t’s a se a rch fo r con nection between an inside and an outside, i n the fus i on of a c om m uni c ati v e aes theti c s .

B e r n a s c h i na w orks w i th th e o ver lapping of an im age por tr ait and anoth er i m age env i r onm ent. In the obs er v ati on of the fi r s t, ex pl or es som e s k e t c h e m oti o n a l l i n ke d to the inner wor ld of the por tr ait and its associati on w i th the outs i de w or l d, i n or der to ar ti c ul ate aes theti c al l y t h e im a g e a s a symb o l . T hi s e xp e ri m ental attem pt to r ealize a pur suit of som e l anguage that del i v er s i n equal i ty of c ondi ti ons [i n] pl ac es of b e in g i m p e n e trab l e b y mea n s o f the wor d logical, thus opening the r oad tow ar ds the poetr y v i s ual .

On t h e o n e h a n d , th e se ri e s o f the year 2012 shows delim ited faces on a bl ac k bac k gr ound, pl ac i ng the por tr ai t i n an em pty, fl oati ng, dis e m b o d i e d , a s pe rcep ti on o f th e w or ld in sign fr agm ents. This places the portr ai ts i n an abs tr ac t i m agi nati on, m ental , a w i nk ps y c hoanal y ti c t o t h e c o l l e c t i v e un co n sci ou s. F or this sam e r eason the im ages of the faces appear w i th ac c ented ges tur es , as m em or i es of fac es etc hed int o mem o r y. T h e di gi tal i nte rven ti ons that he m akes about the por tr aits ar e m ade w i th natur e el em ents , r ei nfor c i ng the i dea of a m ood or som e p e r c e p t i o n o f p e rson a l i ty.

On t h e o t h er h a n d , the po rtra i ts of the year 2015 wer e tr im m ed with tor s o on a w hi te. T hi s al l ow s l oc ate s pati al l y to the por tr ay ed, and can b e l o c a t e d i n a con te xt, spe ci fi ed by m eans of the subsequent digital in ter v enti ons . F or thi s r eas on, y ou c an c al l them i nter v enti ons en viro nm e n t a l i s ts be ca u se the y pu t the por tr ait in a par ticular social settin g. So, i t’s w hi c h they appear w i th m or e r el ev ant, foc us ed on urb a n w a s t e s u c h a s b o ttl es, n e w spaper s, leaves, that in occasions br ing ge t s om e w or ds , phr as es and c ol or s that they ac qui r e r el ev anc e in t h e o v e r l a p o f the i ma g e . Mai nl y they ar e m er ged with the ar ea of the eye s or m outh, pl uggi ng or r ei nfor c i ng s uc h fi gur ati on.

T h u s t h e y l o o k, tw o po rtra ye d mnem onic m om ents, one is inside, as non- tr ans fer abl e ex per i enc e and the s oc i al s ec ond, as s oc i ati ng a loc a t io n t o a n o t her, i n te g rate d i n th e codes of its ever yday developm ent. The s e w or k s i ndi c ate paths tow ar d a ( s el f) c ons c i ous nes s , w hos e op e n in g i s p r e s e n te d a s p e rcep tu a l oppor tunity of inaudible wor lds, that they c an onl y be penetr ated thr ough the ar ti s ti c oper ati ons .

2 0 15 Text about the A r t i s t :

M emories o f f aces an d c o m m u n ic a tiv e p e r c e p tions B y Luc Ă­ a R e y O r re g o , T h e o retica l of Lat in American Art

Na t u re l o v e r I - IV (U p ) Su mme r - A u t u mn - Wi n te r - S p ri n g ( Down) Dig it a l p h o t o m o nta g e i n l ambd a p ri n t and foam 52 x 7 0 c m .

20 1 2 Envir onm ental p or tr ai t I - X Digital photom ontage in lam bda pr i nt and foam 52 x 70 c m .

2015

2 0 15 Inc l us i ve exh i b i t i o n :

To ma ke a d i f f eren ce

B y Fe l i p e B a e z a B o b ad illa, H isto ry of Art So c k e t H a l l , L i b rary o f S a n tia g o - Quint a Normal, Sant iago, Chile

On e o f t h e fe a tu res mo st re cognizable ar t of our tim e’s that it estab l i s hes a c r i ti c al r el ati ons hi p w i th the r eal i ty, s om ethi ng l i k e t a kin g c h a r g e t h r ou g h th e w ork o f what is happening in your envir onm ent. T hank s to ac c es s to i m m edi ate i nfor m ati on that i t pr ov i des the de ve lop m e n t o f me d i a at the gl ob a l l evel, today it’s possible to get a view of w hat happens i n the s am e c om m une w hi c h i s i nhabi ted as al s o of e v e n t s t a k i n g p l ace “to th e o th e r s ide of the wor ld” , liter ally. The ar tist is abl e to c onv er t thi s i nfor m ati on i nto the s ubj ec t or m oti v ati on f o r t h e c r e a t i o n of a w ork an d so u n der standing the ar t as a postur e facing th e r eal i ty, a c r i ti c al and pol i ti c al aw ar enes s . T he ar ti s t’s , then, as a n a c t i v e a g en t i n th e so ci ety th at it’s able to m ake visible their inter pr et ati on of the fac ts .

B u t w h a t h a p p e n s w he n th a t reality is m ediated by the differ ence? A differ enc e that does n’ t l i e i n the s ubj ec ts but i n the s am e s oc i ety t h a t p ri v i l e g e s s ome ove r o th e rs a t the tim e of deliver ing the infor m ation. The ques ti on then i s n’ t foc us ed on peopl e w i th di ffi c ul ty per c ei v i ng t h e re a l i t y, b u t r a th e r o n w h a t ha p p ens when the wor ld is denied for them pr oduc t of the abs enc e of tool s to ac c es s thi s . T hi s l eads to an o t h e r q u e s t i o n: w ha t i s the re l ati onship of the ar tist in situation of disability w i th the w or l d i n w hi c h thi s i m m ens e? If the ar t i s a c r i ti c al to t h e re al i t y, i t s e e ms tha t fo r thi s arti st in par ticular differ ence to which the s oc i ety s ubm i ts i t i s the fi r s t affai r of w hi c h nec es s ar i l y i s m us t do ch a r g e .

To m a k e a di fferen ce i s an exh i bition that br inging together to Cam ila Za m or a, M ac ar ena D i az , D i ego Ber nas c hi na and N ano Q., ar ti s ts t h a t f ro m t h e p a i nti ng , the scul ptu re and the installation they r eflect on how they deal w i th the di ffer enc e i n i t ar e w r apped i n day to day or of wh ich t h e y a r e wi tne sse s. F ro m a pa inting that it’s under stood as the r eflectio n of i nner feel i ng agai ns t the c ons tant c hal l enge of i ntegr ati ng t h e lis t e n e r w o r l d (D ía z y B e rna sch i na) , thr ough the installation of the body as a fundam ental tool of l anguage ( Z am or a) , to the s ear c h of a p a in ti n g n o t s o on l y op ti ca b u t to u ch and ther efor e m or e accessible ( Nano Q) , thi s ex hi bi ti on i s m eant as an ex er c i s e i n r ev el ati on. T he pre se n t e x h i b i t i o n h a s b y o b j ecti ve reveal the wor k that daily m akes a per centage of the C hi l ean popul ati on to av oi d the di ffer enc e that the ot h e r pe r c e n t a g e crea te s.

2 0 15 Inc l us i ve exh i b i t i o n :

To ma ke a d i f f eren ce

B y Fe l i p e B a e z a B o b ad illa, H isto ry of Art So c k e t H a l l , L i b rary o f S a n tia g o - Quint a Normal, Sant iago, Chile

To m a k e a di ffe ren ce i n vi tes the viewer to witness the wor k of this gr oup of ar ti s ts ; w or k not onl y as a s y nony m of w or k but al s o of eff o rt , b u t e s p e ci al l y o f p rod u cti on . Cam ila Zam or a, M acar ena Diaz, Diego B er nas c hi na and N ano Q. hav e m ade pr oduc ti on the di ffer enc e, t h e y h a v e b e c o m e thi s p a rti cu l ar rea lity that it concer ns them in the m obile o f hi s w or k , a c ons c i ous w or k of c r i ti c i s m , of s oc i al ques ti oni ng.

Fo r t h e m , t o m a k e a d i fferen ce i s to m ake us see the differ ence.

Tou c h im a g e f o r th e bl i n d of the wor k of “Inv isib le c a t ” ( 2 0 12).

View of the exhibition in the Soc k et H al l of Libr ar y of Santiago. own work “ Inv i s i bl e c at” ( 2012) , along with the touch im age ( l eft.) for the blind.

Tex t i n br ai l l e for bl i nd of the w or k s ow ned “ Inv i s i bl e c at” ( 2012) .

Text in b r aille f o r b lin d o f t h e wo r ks o wn ed “ U n t it led ” ( 2010) .

Ta c ti l e i ma g e t o b lin d o f th e wo rks ow n e d “ U n title d ” (2 0 1 0 ).

Works owned “Unt it led” ( 2010) .

Scan this code to see a video of a blind young woman perceived by the touch of the work itself in Spanish sound.

Scan this code to see a video of curatorial text in Chilean Sign Language and Spanish subtitled text.

A young blind is experiment ing wit h graphics in relief of visual work.

2 0 17 Inc l us i ve exh i b i t i o n :

N e w s enso ry p at h s

B y Ca m i l a Se rran o , C u ra d o ra So c k e t H a l l , L i b rary o f S a n tia g o - Quint a Normal, Sant iago, Chile

C urator i al tex t :

How would the painter or p oet ex pr es s any thi ng other than hi s enc ounter w i th the w or l d?

M aur i c e M ar l eau- Ponty

T h e [ i n c l u s i ve] e xh i bi ti o n “N e w sensor ial paths” is the culm ination of the ex pl or ati on w or k of ar ti s ts Al ej andr a Ay al a, Tati ana Bi ni m el i s , Ke n ji S e n d a , C a mi l a Z amora, D i e g o Ber naschina, Am ar anta Santis and Pina Pabs t, w ho par ti c i pated dur i ng the m onth of thi s y ear [2017] in t h e “ R e s i d e n ce A rt, C rea ti on a n d Resistance fr om Inclusion” , wher e the onl y c ondi ti oni ng w as to c r eate w or k s to be per c ei v ed by al l t h e se n s e s . I t ma y se e m si mpl e, b ut in our cultur e in which it dom inates the v i s ual ex per i enc e appr oac hi ng the func ti onal di v er s i ty of exp e rim e n t i n g wi th th e b o d y d e man ds to get out of the known paths, to build fr om the em pathy new w ay s of per c epti on and fr om ther e to cr e a t e o t h e r w a ys o f d o i ng .

D escr i pti on:

A n x i e t y, O d i ou sn e ss a n d D i stur bance ar e feelings that the ar tist r ec r eates i n a tr i pty c h w i th the m ater i al i ty that he obtai ns fr om t h e w a s t e l i k e p a p e r, ca rdb o a rd or cigar ette butts, this last r epr esentation o f the c ontam i nated per c epti on fr om w her e they ex pel v i c i ous be h a vi o r s , l a c k i ng co n n e cti on w i th the other s and withdr awal of the senses.

T h e s e l f - r eprese n ta ti on bri n g s together a r elationship with identity and ev er y day nes s s o l ac k of gr andeur, w her e c r eati v i ty ’s i n i ts sta t e o f v u l n e r a bi l i ty to the re p e ti ti o n of a r outine that appr opr iates self- expr es s i on, bei ng the m ater i al an el em ent that c ov er s as a defens e ag a in s t t h e e n v i ro n men t a n d th e e l abor ation of an identity discour se.

Tiple f eeling: Anxiet y, Odiousness, D ist u r b an ce.

M ixed media: Paper, cardboard, ci g ar et t e b u t t s, co f f ee.

77 x 104 cm. ( each o n e) 2017

To p lef t : Gen er al visit o f t h e exh ib it io n .

To p r ig h t : A b lin d m an ’s sen sit iz in g t h e t o u ch t o g et h er wit h a g u id e.

D o wn lef t : T h e b lin d ’r e r ead in g a d escr ip t io n in B r aille.

D o wn cen t er an d r ig h t : T h e b lin d ’r e d isco ver in g t h e sen ses.

ESSAYS / MONOGRAPHS

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015.

The exper ience in the life o f ar t, i t’s not eas y to k now the ar ti s ti c pr oj ec ts and educ ati onal wor ks which pr om ote the social i nc l us i on and equi ty w i th c ul tur al dev el opm ent. T he i m por tanc e about the pr oblem s of aesthetic s and ar t theor y, thi s i s w hy the ar t has c eas ed to be a s i m pl e object of social and cultur al pow er.

It has suffer ed sever al er r o r s of the c ontem por ar y ar ti s ti c l anguage thr ough the aes theti c instr um ent, that is r esolved to b e the c onc eptual deter m i nati on of the s oc i al and i nc l us i v e ar t, that is, under stand and explain the w or k of ar t and ex per i enc e of ow n author s hi p. It r equi r es som e im por tance of the hum an bei ng. M any of them ar en’ t tr ai ned to r efl ec t and tal k of thos e conceptual objects. But nobody k now s i t an i nc l us i v e ar ti s t to i ntegr ate a new l ook at the cr eation.

Wit h o u t i n c l u s i v e a rts ed u ca ti on ... we ar e

Som e em er ging ar tists ar e ac c us tom ed to a v i s i on of ar t ow n of the ar ti s ti c hi s tor i ogr aphy, de a d IVa to a cer tain ar t histor y that too often w hi c h they l i m i ted a phi l os ophi c al atti tude of the w or k s , D i gi tal art | 20 11 which usually takes a classific ati on of c l i c hés , c onv enti ons and c om m on pl ac es , ac c or di ng t o t ime s , a g e s , s tyl e s, te ch n i qu e s, etc. In the opposite, the aesthetic isn’t the c l as s i fi c ati on or s equenc e i n the pur s ui t of ar t, but l i v e i t, un d e rs t a n d , i n t e rp ret an d en j oy i t hi s own expr essive language based on a di ffer ent v i ew of r eal i ty, at w hi c h they m i m i c that new gener ati on in t h e 2 1 s t c e n t ury.

T h i s a e s t he ti c re vo l uti on d o e sn’t depend on the ar tists of a differ ent gener ati on, but that tr ans l ate the i ntel l ec tual and s oc i al co n c e p t i o n s o f a hi stori c mo men t. Ther efor e, the social, political and cultur al c hanges that don’ t r equi r e a di ffer ent w ay to fac e the so c ia l r e a l i t y. Wi tho u t a d o u b t, a rt and aesthetics as a new knowledge, effec ti v el y al l ow i ng w e ar e appr oac hi ng to under s tand the hu m a n b e i n g i n i tse l f a n d hi s e n vi ronm ent –in its m ultiple social, politica l and c ul tur al i m pl i c ati ons –. F r om the poi nt of v i ew ar ti s ti c f o r in c l u s i v e s o ci e ty, i t h a s rea l i ze d the aesthetic expr ession and cr eative m ani fes tati on. At the s am e ti m e, i t has been c ar r i ed one of t h e g re a t p r o b l e m s o f hu man be i ng s thr oughout its histor y of str uggle to li v e for the defens e of thei r r i ghts of per s ons w i th di s abi l i ti es .

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015. adopt a s pec i fi c i ty of the c onc eptual obj ec t and

T h a t i s w h y, i t i s so ha rd to fi nd ar tists pr oc es s of c r eati on on the ow n aes theti c pr ac ti c e. or g ro up s w h o v o l un ta ri l y th e w o rks i n r elation H ow ev er, i t’s pos s i bl e to c hange the pr ac ti c e t o t h e s t r u g g l e i n e ve ryda y l i fe . T his is an of the ar ts of the r efl ec ti on on the s c ope and exc e p t i o n w h i c h th e w o rl d o f co n tem por ar y i m por tanc e of the noti on of the ar ti s t’s l i fe. art . As w e l l a s th e ava n t-ga rde breaks with t ra d it ion a t t h e sa me ti me tha t con tem por ar y

But nei ther i t’s eas y to under s tand the wa y s t o c o n f i g u r e an story, the art e stablishes r efl ec ti on on the pr obl em s of ar t, the w hol e t h e p a i n , s u ff e r i ng , soci al i sol ati on to live of the r efl ec ti on on the c ul tur al s oc i opol i ti c al t o g e t h e r t h e s t r ug g l e o f tran sfo rmi ng social ex per i enc e and hi s tor y of c ontem por ar y ar t. On re a lit y, b y t h e i n fl ue n ce o f i ts power of the other hand, a r efl ec ti on c ons tant, not onl y exp e rim e n t a t i o n on h u man a cti vi ties, the to r es ol v e tec hni c al and for m al i s s ues . But i n un d e rs t a n d i n g o f be a u ty i n so ci al ar t and the ar ti s ti c c onc epti on i n i ts c ontex t, i .e., i n the v i s i on ae st h e t i c v a l u e i n q u e sti on . and pr oj ec ti on of i deas and thei r s i gni fi c anc e, on the i nc l us i v e w or k i ng ar ti s t, r efl ec ti on of hi s

I t a p p e a r s i n th e p i cture a b o u t the wor k ti m e, how they i nfl uenc e and affec t our s oc i al of “Au to r e p r e s e ntaci ón ” (S e l fre p resentation) , under s tandi ng; a i ntegr al v i s i on. As w el l , the t h a t is r e p r e s e n te d a ru p tu re of the own s tudy and ex per i m entati on of new tr ends i n ar t au t h o rs h i p , i n a h i gh l y provo ca ti ve m anner and tec hnol ogy ( or s i m pl y m edi a ar ts ) , for the t h e m a n i f e s t a t i o n of soci al fu n cti on of ar t, us e of ex tr em e i deol ogi c al pos i ti ons i denti fi ed t o p ro v i d e t h e el emen ts to sto p the r eality w i th the i nc l us i v e s oc i al i s m ( or s i m pl y i nc l us i v e so h a r d a n d c o mpl ex. T h u s i n th a t beauty, dem oc r ac y ) and i ts total i tar i an per v er s i on, as the t h e re i s g r e a t d i spe rsi o n th a t reveal the r el ati ons hi p of ar t and env i r onm ent, the s ev er e con f u s i o n o f l a r ge co n fi gu rati on s, str uctur es, c r i ti c i s m of the s i tuati on i n di s abi l i ty and thei r Autor epr esentación M ixed m edia on canv as an d c o m p o s i t i o n s of the arti sti c w or k. As the s oc i al r ol es , gender i s s ues and i nc l us i on, of v i tal 30 x 40 cm . | 2014 me a n in g o f t h e arti sti c e n d e a vo r, i t doesn’t di s c r i m i nati on, of l abour c l ai m s of thos e ex c l ude

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015. f ro m so c i e t y v u l n e rab l e a n d p reca ri ous, fr equently in the ar tistic endeavor, s how s the s oc i al func ti on of ar t i n c ul tur al dev el opm ent.

Natur e lover I - IV Digital photom ontage in lam bda pr int and foam | 52 x 70 c m . | 2012

I n t h e s t r i c te st sen se on the questioning of the ar tistic pr inciples and s oc i oc ul tur al pol i ti c al , does n’ t r ec ogni s e the ex i s tenc e of the ae st h e t i c b e y o n d th e a rti sti c i n a l l spher es of social activity, wher e the soc i al par ti c i pati on has i nc or por ated thei r k ey c onc er ns . As a Ch in e s e a r t i s t , Ai Wei w e i , i s o n e of the m ost influential ar tists ar ound the wor l d agai ns t the pow er of the C om m uni s t r egi m e i n C hi na, as we ll a s t h e “ a n t i -d e mocracy a rti st” for the str uggle for fr eedom of expr ession. T her e i s no c om m i tm ent w ho ac qui r es the ar ti s t and hi s w or k on t h e r e a l i z a t i o n th a t th e a rt as a tool for social tr ansfor m ation.

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015.

T h e q u e s t i on i s: D o you be l i e ve that the social ar t r em ains an ar tistic language that i s abl e to c hange the m i nd of the ar ti s t i n s i tuati on of h e a r i n g i m p a i r me n t?

H e r e I w i l l prese n t a sh o rt fi l m of videoar t of “ Life of Chilean Deaf” .

Life of Chilean D eaf 2:23 m in. | Videoar t | D V | 2015

To t h i n k w i th th e u se o f si gn l anguage, is a synonym of the gestur al code for deaf peopl e. As the c onc ept of the non- l i ngui s ti c c ode, si n c e i t d o e s n ’ t nee d to a verba l co m m unication, i.e., it doesn’t r equir e a spec i fi c l anguage ( v er bal c om m uni c ati on, as w el l as the v er bal cod e , o r s e m i o l og y), tha t w i l l b e capable of tr ansm itting the m essage. For thi s ges tur al c ode i s us eful , both the s ender as w el l as the re c e ive r m u s t k no w i ts mea n i ng vi sually, but doesn’t have a knowledge of r eadi ng and w r i ti ng. Shoul d r ec ogni z e to that ges tur al c ode, as is it u s e d t h e i r o w n l an g u a g e o f th e chilean sign language.

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015.

F or ex am pl e, a Spani s h pai nter, F r anc i s c o Goy a, bec aus e nobody s uppos ed that he w as deaf dur i ng the 19th c entur y, des pi te hav i ng s ur v i v ed the Spani s h War of Independenc e. One of the m os t fam ous “ l a Qui nta del Sor do” ( the Vi l l a of the D eaf) , w her e i t w as a dec or ati on of a s er i es of 14 bl ac k pai nti ngs w i th the tec hni que of oi l pai nti ng on w al l s c ov er ed w i th pl as ter ( or s i m pl y dr y w al l ) . Goy a that «c onfes s es tha not has been abl e to l eav e i n thi ngs of thei r pr ofes s i on, i n c onnec ti on w i th the fac tor y of tapes tr i es , for bei ng s o deaf “ that he not us i ng fi gur es hand [s i gn l anguage] c an not under s tand any thi ng“ ».[ 1] H e al s o w as i n a s tate of i s ol ati on of the Ac adem y of Pai nti ng. H e tur ned to a s tudy of hands , r epr es enti ng di ffer ent tec hni ques and gr aphi c s of s i gn l anguage for deaf peopl e, to r ec ogni z e the i c onogr aphi c c ode ( or l anguage of the i m age) .

Wi tho u t i ncl usi ve a rts education ... we ar e dead II D i g i tal ar t | 2011

T hi s i c onogr aphi c c ode c or r es ponds to a s tudy of i m age s et on a pl as ti c m edi um ( F or ex am pl e, the dr aw i ng of the hum an fi gur e, por tr ai t the pai nti ng, the s c ul ptur e of hands , etc .) . T he other ter m of i c on, i s a ty pe of s i gn c or r es pondi ng a phy s i c al fi tnes s i n v ar i ous m agni tudes ( v ol um e, s i z e, etc .) and v i s ual appear anc e i n a pl as ti c m edi um , i .e., that y ou c an touc h, l ook , w hi c h y ou c an feel s om ethi ng v i s ual l y under s tandabl e.

2 0 15 Text by the Ar t i s t :

B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015.

T h e n t h e s u b j ect o f g e stu ral code, acquir es a special significance of ar ti s ti c ex pr es s i on, i .e., the hum an ac ti v i ty c ons i s ts a c r eati v e pra ct ic e t h r o u g h w hi ch i t tran smi ts the nonver bal m essage of the hum an being and the l anguage, thr ough a i ntangi bl e and s ens i ti v e obj ec t, wh ich e x p r e s s e s i n w o rk o f art, w i th som e iconogr aphic r elationship on the m eans of c om m uni c ati on betw een hum an bei ngs thr ough ge st u re s , t o a c h i e ve a n d a d a p t to th eir own thinking that you want to convey.

T h e d e a f p e o p l e su fferi n g from psychological disor der s in the speaks, but the thi ngs c hange i ts s y s tem of c om m uni c ati on, by m eans of v isu a l s i g n s . In d e e d , the arti sti c idea and its for m of expr ession, which i s r el ated to the c ontent of the ar ti s ti c l anguage i n v ar i ous ar t f o rms, t h r o u g h pa i nti ng , d raw i n g , e ngr aving, photogr aphy, sculptur e, theatr e and c i nem a.

A l w a y s t h e hu man be i ng i s re lated with the social ar t. On the other hand, ther e i s no i nc l us i v e s oc i ety or hi s tor i c al epoc h w i thout inc lu si v e s o c i a l a rt. T h e a rt ha s a need of changing the society by which r eal i ty i s i nter pr eted thr ough i deas and bel i efs . As w el l as the com m u n i c a t i o n i n the art, w h e re i s manifest between the deaf ar tist, their wo r k and the v i ew er r ec ei v es the ges tur al m es s age. In thi s br oad sen s e , i t ’s a n y p roce d u re u se d to co m m unicate by sign language. These ar e the di ffer ent ar ti s ti c l anguages and the audi ov i s ual l anguage.

Fo r t h a t , w e m u s t co n si de r a n u mbe r of elem ents for an appr eciation ( visual c r eati on) of the ar tw or k .

Bi bl i og ra p h i c c itatio n an d re fere n ce [ 1 ] B O Z A L , Va l e ri an o , F ra n ci sco Go ya, vida y obr a, M adr id, Tf, 2005, vol. 1, pág. 120.

Ara n d a To r r e s , C.. (20 0 4 ). Introd u cción a la estética contem por ánea. Ser vic i o de Publ i c ac i ones de l a U ni v er s i dad de Al m er ía.

Ava ila b l e i n : h t t p://g o o .g l /dOi U C h [Accessed: 10/27/2015]

PRESS / PUBLICATIONS (Articles - Catalogs - Blog - Magazines)

11 / 2 1 / 2 0 1 5 Pre s s r e l e a s e : B i oB i oC hi l e (i n S p a n ish) - http://r bb.cl/d7ts Art ist ’s We b s i t e (i n S p a n i sh): h ttp ://goo.gl/jtYGiO

11/23/2015 P re s s r e l e a s e : R a d i o U n i v e r s i t y o f C h i l e ( i n S p a n i s h ) - h t t p : / / g o o . g l / k w d 9 r Y A rt is t ’s We b s i t e ( i n S p a n i s h ) : h t t p : / / g o o . g l / j t Y G i O

11 / 2 3 / 20 1 5 M is c e ll a n e o u s : “ C ycl e o f i ncl usi ve exhibitions in Santiago” of the C h ile a n n e w s p a pe r H o yx H oy, p . 1 6 ( in Spanish): htt p s : / / g o o . g l / h P Q H tu Ar t ist ’s We b s i t e (i n S p a n i sh) : http ://goo.gl/jtYGiO

04/09/ 2017 Newsl etter N º 6 of the Inter nati onal Vi deoar t F es ti v al of C am agüey ( Cuba) : An aw ar d adv anc ed by J os é R aúl Gal l ego R am os , p. 4. ( Pr inted publ i c ati on i n Spani s h)

20 1 6 Ca t a log : XV I n t erna ci on a l Ima g e F estival Ma y 9 - 1 3 - M a n i z al es, C ol ombi a Dig it a l p u b l i c a t i o n (i n S p a n i sh): ht t p s: / / i s s u u . c o m /i ma g e n fe st/d o cs/ctlgfinal_con_todo/147

2016 Catalo g: XIII F es ti v al “ IM AGIN A San J av i er ” Apr il 2 2 to M ay 1 - San J av i er, M ur c i a, Spai n Digital publ i c ati on ( i n Spani s h) : https ://goo.gl /4k LD T F Pp. 74 to 77 ( i n pr i nt) Video: https ://y outu.be/10T k D Z 9s 30k Ti em po: 1:04 - 1:07 m i n.

201 7 C a t a log u e : 7 t h I nte rna ti on a l Vi d e o a r t Festival of Cam agüey Ap ril 4 - 9 - C a m agü e y, C ub a Pu b lic a t i o n p r i n te d i n b i l i ng u a l (S p a nish / English)

2017 Catalo gue: 12th Bi enni al of M edi a Ar ts “ Speak i n tongues ” October 8- 25, 2015 - Santi ago, C hi l e Public ati on pr i nted i n bi l i ngual ( Spani s h / Engl i s h) .

Pags.: 430- 431; 435.

20 1 7 Ca t a log u e : I n t e r na ti on a l Vi d e o F estival “ DigitalBigScr een” Se p t e m b e r 1 4 - 1 6 - Trb o vl j e , S l ove n ia Pu b lic a t i o n p r i n ted i n b i l i ng u a l R o manian / English, pp. 2- 3.

2018 Catalo gue: I Inter nati onal M eeti ng of D eaf Ar t.

Fr om Mar c h 12- 16 - Val par aís o, C hi l e.

Digital publ i c ati on ( i n Spani s h) : https://i s s uu.c om /pc dv /doc s /c atal o_go_di gi tal _18bbfdd79eda12/23

201 7 Bl o g : To w a r d s a n i ncl usi on o f th e creator in sound ar t (In Spanish) Ta lle r M u l t i n a c i o n a l (Mexi co C i ty, México) , 04/ 2 0 / 2 0 1 7 .

In h t t p s : / / g o o . g l /Z N 29 a x

2018 M agaz i ne: Ephem er a 2.0.

5 wor k s of di gi tal ar t and v i s ual poem s i n bi l i ngual .

Editori al fac s i m i l e. ( London, Engl and, U K) . M ay, p. 8.

In: https ://bi t.l y /2R ev M Z R

20 1 8 Ch a p t e r o f t h e b o o k: “Vi d e o i ncl udes: New wr itten- visual- sound dia lo g ue ” . I n D a ni el C ru z (e d .). In te r sect | M edial Ar ts Sem inar, pp.

15 5 -1 5 9 . S a n t i a go: E di ti o n s D e p t. of Visual Ar ts. Faculty of Ar ts, U. of C h ile . O b r a s Escri tos C ol l e cti on ( in Spanish) .

En : h t tp : / / m a s i v o.cl /me d i a/l i b ro/In te r secta_digital.pdf Scan this code to see.

2018 Inter view : W H IST LE pr oj ec t by T hanas i s Pr otatos ( D i r ec tor ’s Gr eek film of “ W hi s tl e” ) “ Diego Ber nas c hi na: deal i ng w i th w om en’s di s c r i m i nati on thr ough fantas y “ En: https ://bi t.l y /2s I3c oJ ( Sol o en i ngl és ) Scan this code to see.

201 9 C a t a log : Te m p o r ary G al l e ry R e p o rt 2018 - Santiago, Chile Publication pr in t e d i n Sp a n i s h, p p . 1 0 6 -10 9 .

2019 Catalo g: Inc l us i v e ex hi bi ti on “ Tem bl or ( i n) s ens i bl e” .

Extens i on C enter, M i ni s tr y of C ul tur e, Ar ts and H er i tage.

Fr om A pr i l 18 to M ay 19. Val par aís o, C hi l e, 2 p. ( i n pr i nt) . ( Onl y i n Spanis h) .

20 1 9 Pre s s r e l e a s e / B l og / Mag a zi ne : (C ollective and inclusive) “ Exhibition Inclus i v e C r eati v e C enter of C ontem por ar y Ar t� .

Fr o m A u g u s t 2 6 to S e p te mbe r 1.

Mu se u m o f Vi s u al A rts (MAV I i n S p a nish) . Santiago, Chile.

La Segunda newspaper - August 31, p. 5.

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Intermediate Magazine - August 31.

(Digital publication in Spanish) https://bit.ly/2kPoNv1

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Culturizarte Blog - August 31.

(Digital publication in Spanish) https://bit.ly/2kptD28

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