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Hechizas

Hechizas (Shanks) is a work that consists of collecting handmade weapons and objects from different Chilean prisons. It is the result and evolution of the work in progress Esculturas (Sculptures), which can also be accessed on this site. This gallery shows the Hechizas exhibit at Museo de Arte Contemporáneo de la Universidad de Chile. The exhibit also included a cell phone that tracked the artist’s geolocation in real time and six other phones that displayed brief video essays related to the show. The quantity and images in this gallery correspond to the intention of appreciating the great formal and material richness of the objects exhibited here.

Máquina Cóndor

Máquina Cóndor (2006 - in process)
consists –in its most recent version  (Máquina Cóndor 4.0, from 2016)– of a relational model composed of three consecutive operations that replicate recursively:

A)–Real-time search in 12 newspapers for 333 keywords related to war and economy.

B)–Online search and analysis of the buying and selling values (in euros, yuans, yens, British pounds, and dollars) of currencies from former African colonies, the Middle East, the countries where Operation Condor took place, and of natural resources important to the Chilean economy (copper, gold, lithium, and water –which is measured by the value of the shares of companies linked to its distribution).

C)–Interleaving of 9 words -derived from the lexicon of surgery, anatomy, and forensic medicine- in the first stanza of a 'memento mori' by Luis de Góngora (On Human Ambition, 1623). The arrangement of these 9 words depends on the searches and economic analysis set forth in A and B. These mortuary poems respond to cause-and-effect relationships where, once again, war is combined with the economy, and bios with polis and logos.

NOTE: That is the true poem: the relational structure arranged by me and through which the world expresses itself in real time by means of a work that feeds on the facts of the world filtered by newspapers, which are never neutral or objective, and the hard data of the economy. The poem is not just a stanza but all the data synchronized in unison, which, incidentally, are the only thing that makes it possible.


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La Nave

La Nave (the vessel, or nave) consists of ten portraits of characters from Bolivian popular culture captured inside cholet buildings constructed in the peripheral city of El Alto (Bolivia). Freddy Mamani, the inventor of these buildings calls them New Andean Architecture. The portraits were done while these buildings were still being constructed.


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The Birds

The Birds is an ongoing series that consists of photographs of birds that appear on the background of Cuzco baroque paintings. Generally, they are presented as secondary or subordinate characters, but this is only apparent. Since some art historians –such as Teresa Gisbert and Ramón Mujica– argue that they constitute functional symbols to the viceroyalty’s evangelization, where Christian angels mingle with pre-Columbian huacos.

Locus Amoenus Trinitas 

Locus Amoenus Trinitas consists of two interventions on church altars. The first, in 2004, was on the central altar of the Trinitätskirche, in Cologne, Germany. The second, in 2009, happened in the Iquique Cathedral, in Iquique, Chile.

The following text deals with these two works that connect the representational modes of the Holy Trinity in Latin American baroque with problems related to art history, cultural studies, philosophy of language, conceptual art, performance, relational aesthetics, body art and media art.

 

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The Minor Choirs

The Minor Choirs consists of portraits of characters from carnival celebrations and popular religious festivities of northern Chile and the Bolivian highlands (altiplano). The photographs were taken in illegal dumps near the cities where these festivities are held. In this interview with curator Rodolfo Andaur, the artist elaborates on several aspects of this series.

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The Subsequent City

The Subsequent City is a video recorded on 2012 on an illegal garbage dump in the marginal city of Alto Hospicio in the Region of Tarapacá in the north of Chile. The video was recorded simultaneously by three cameras to obtain a wider panoramic image than the one provided by a single camera. This is why the ideal way to present it is as a three channel video installation and 5 audio channels. In the following text the author reflects on some formal aspects of the work.

It’s suggested to watch the video on full screen mode and listen to it with headphones.

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Sculptures

The following text is a reflection on Sculpture#5, a work which consisted in certifying a prison rapier as “sculpture” and “objet trouvé” so that it could travel from city to city, on intercontinental flights, legally in the cabin as diplomatic baggage transported by a Spanish civil servant from one exhibition to another (generally Spanish cultural centers like New York’s Instituto Cervantes or Rome’s Real Academia de España). So far, the “sculpture” has been exhibited in five countries, managing to avoid several international police posts in each airport.

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