November 2009

Bulma Dragon Ball Doujinshy

No + VIOLENCE - Video

Exhibition "report, the scenarios and the anonymous"
Curator: Maria Elena Retamal
Meeting As part of the Visual Arts N200.

M. Elena Retamal Ruiz.

"The nations are then imaginary constructs that depend for their existence on cultural apparatuses of fiction, including which literature plays a decisive role "

Ernest Gellner. Nations and Nationalism-1983

A the characteristics of the arts in general is their ability to reinterpret the reality through the production of images that give meaning to the life of a social group. The creation of representational images of the nation is then, in the symbolic body that structures, organizes and unifies social order. That is why, once consolidated Independence, the new Latin American republics, prioritized their interest in founding a "national identity", based on consolidation of certain cultural traditions contained and preserved by the politicians who exercised power from the nineteenth century.

To achieve this purpose, two fundamental facts: an Inauguration of the Academy Painting in 1849, which then extended School of Fine Arts and the opening in Centennial activities of National Museum of Fine Arts . First, establish formal art education models, based on consolidation identity of the fictional country and the second will have the function of its artistic treasure .

Néstor García Canclini

s ENAL " three operations made it possible to restore elites and again, with each change of modernization, aristocratic conception: to ) spiritualize cultural production under the guise of "creation" of art, with the resulting division between art and crafts; b) freezing circulation of symbolic goods in collections, concentrating them in museums, palaces and other exclusive facilities; c) propose as the only legitimate form of consumption of goods that also spiritualized hieratic mode of reception is to contemplate " .

Three major issues will be addressed in order to legitimize the national imagination: the symbols (national heroes and deeds), landscape (National constant, according to the historiography art) and the portrait (as part of preservation strategies and social display.)

Now, facing the art scene that confronts us the Institutional Chilean , on the threshold of our 200 years of "independent", ie Triennial of Chile, its chief curator proposes to remove " reflections on the limits of art working three basic shapes: the same limit as fold suggests in third place or at the borders open to the weather or anything reflection on art institutions : an obsessive that accompanies the long road to modernity and maintains force in each new scene of critical reflection, and possibility of "doing", in Heideggerian sense, to turn in work situations, not knowing the rule of the form, cross the boundaries of aesthetics and compromise actions that occur beyond the scene of representation, are subject to the contingency of what may or may not ser ofrecido a la mirada, convertido en momento estético o en experiencia de obra”.

Pues bien, en torno a nuevas escenas críticas de reflexión, como N200, que establecen proyectos alternativos respecto de la Institucionalidad del Arte es que he sido invitada a pensar este Bicentenario, a partir del cual, mi interés propositivo se construye bajo algunas referencias que paso a reseñar:

Uno, las obras seleccionadas , se proponen como un artistic political argument against the Bicentennial look, as under a non-political context (as that seems to roam around the exhibition of the celebrations argument) is interesting to propose "the political in art, from which establishes a joint "internal" to reflect critically on the social environment from the organization of meanings, from the rhetoric of the media and the establishment of their own mounts symbolic [1] Two

, Stress some imaginary concepts related to national identity, since identity understood as a social construct unstable, it can interfere through new practices and customs have come from the inclusion of other cultural devices.

Three If in the nineteenth century, rhetoric was articulated country from issues such as national symbols, landscape and portrait in the arguments XXI will be other issues coming from new problems that will shake our own events, it establishes three displaced from the three thematic first: MEMORY , SCENARIOS AND ANONYMOUS.

[1] See Oyarzun, Pablo, other editors. Art and politics. Universidad Arcis, Santiago, Chile, 2005.p 16

Edition video: Felipe Miranda

Do Poleps Stop You From Falling Pregnet

Collective Work of Marianne
Ladealmedio Jaramillo - Natalia Camilo

MINES Event 2009

This work is inspired by the plight of working immigrants in Chile, the current Labor Code sections do not exist to regulate the work of immigrants, so there is a loophole.

For this work we met with Peruvian immigrant women who worked or working in domestic service, collected their stories and use it in the presentation.
also use the current labor code, for covering the fixtures and to be spat upon MariCarmen, who at some point in his life too was an immigrant.

IMMIGRANTS ZERO

Santiago

Santiago Centro

Kilometer Zero

footsteps ghosts,

immigrants

street.

The surface picks up your tracks

no work or food.

The yearning, dark,

draw furrows, with silence.

So do not say anything,

recognize your accent,

and regret

can not bring you to a place,

like home.

is also my fault

you feel alien,

see you drunk weekend

see you, I see you,

invading my city,

but

I forgive you,

knowing that there

nothing to forgive.

Because if we choose

where birth

I would choose to hold

and tell,

in the primitive earth

is a foreigner.

Natalia Camilo. Poem for Peruvians living in Chile

Whats The Name Of The Song In Unleashed ?

If you go to Chile National Ice Rink without Nation

CUATROPUNTO Work Based on the novel by Roberto Bolaño
Black Friday 16 October 18:00 hrs. Biblioteca de Santiago.

Happening

before the collective action of the Library. THE day of Bolaño Chair of the University Diego Portales, where the guest was Martin Caparros with "Chronic Latin American literature."
I asked students who were on the terrace of the college while going on the chair, to read an excerpt from the text of the novel with an ice cube in hand, the audio was recorded and became part of the action in the Library. Then I went to the room where it was made and the final presentation and digested as a cocktail, I asked the attendees - including Raul Zurita, Gumucio and Coppola himself, to do the same.
cameras were in my mates Cuatropunto, MariCarmen at the detail and Malena in shots (thanks for waiting.)

" was not the first corpse that I was. Before had happened a few times. The first, in Chile, in Concepción, the capital of the south. I was leaning to the window of the gym where a few hundred prisoners remained in detention, it was night, a full moon night in November '73, and saw a big courtyard circled by detectives. All beat him to that effect using hands, feet and rubber bars. The fat in the end, not even shouting. Then he went headlong into the ground and only then I realized he was barefoot. "(Bolan, pág.59)