dissidence, sovereignties, performance
Alejandra Herrera Silva studied in the U. de Chile, Valencia, and Belfast and co-founded PERFOPUERTO. Her performance and installation explore her body and the biological implications that it bears as a social and political being. She is now exploring motherhood and the domestic. Her work has been showcased worldwide and recognized by FONDART and DIRACs.
Anadel Lynton works with her old, active, female, and feminist body. She is a communitarian and an ally of indigenous communities, believes in buen vivir (good living) as a human goal, aspires to a future without dominators and dominated people, a decolonized, depatriarchalized world of peace, dignity, and justice. She seeks to encourage creative experiences through movement in her communities.
Flowers encircle three small baskets filled with questions about who will take responsibility for dead trees, cloned humans, and other desperate challenges facing humanity. Participants are invited to make simple movements and to balance flowers on different body parts. They are asked to take questions and read them aloud, opening a dialogue.
Eloísa González: The Struggle for Power of the High School and University Student Movement through the Visual Regime
Eloísa González was the spokesperson for the the Coordinating Assembly of Secondary Students (ACES) in 2012, spokesperson for the “I Do Not Lend My Vote” Campaign in 2012 and of the “I Do Not Vote for This System” Campaign in 2013. She is a militant of the Rebel Youth and a second year Film and Television Student at the University of Chile.
Laurence Parent: Disability Activism in Montréal, Canada: Putting Ableism on the Agenda of Our Movements
Laurence Parent is a PhD candidate in Humanities at Concordia University. She holds an MA in Critical Disability Studies and a BA in Political Science. Co-founder of Quebec Accessible, she also co-coordinates the Critical Disability Studies Working Group at Concordia. Her research examines what it means to wheel and walk from a disability perspective.
Ramesh Srinivasan: Revolutionary Networks: Assemblages of Technology-Facilitated Activism
Ramesh Srinivasan teaches in UCLA’s Information Studies and Design|Media Arts departments. Founder of the UC-wide Digital Cultures Lab and is the author of the forthcoming book Whose Global Village? Rethinking How Technology Impacts Our World. His writings have been widely published by Al Jazeera English, The Washington Post, and The Huffington Post.
Javiera Parada: The Constituent Process: The Road Towards a Constituent Assembly
Javiera Parada is a Chilean actor and cultural organizer. She is an organizer of Centro Cultural Autogestionado Banana Factory and has organized music and performance festivals. She is also engaged in Revolución Democrática and the Marca Tu Voto movement. From 2014-2016 she was the cultural attachée at the Chilean embassy in the US, but left to support the Chilean constituent process and the Democratic Revolution.
Moderator: Ximena Póo
Neda Godoy (Chile) is a performance artist and a Visual Arts alum at Universidad Arcis. Her works reflects on the questions around womanhood in Neoliberal Chile. She interacts with the audience to politicize a relationship between artist and spectator. She is a member of the performance research collective Cuerpos Ambulantes and of El Cubo.
Using elements from the world of orthopedics, objects that function to immobilize the body, Godoy undertakes tasks opposite to those determined by medicine. Her actions alter the physical and morphological possibilities to a point where the transformed and disabled body requires the audience’s participation.
Daniel Acosta (Argentina) is an interdisciplinary artist, coordinator of the collective SOStierra, and curator from Buenos Aires, Argentina. He uses technology and natural elements to create public actions questioning human rights, access to land, social equality, and identities. He has participated in programs and festivals in the United States, Europe, and Latin America.
THE APPEARED is grounded in the active poetry, urban explorations, and personal experiences of the artist. The work invokes memories, ghosts that haunt the present, and liberating poetics that allow for the transformation of Latin American reality restricted to a global culture and spiritual consumption. “The Appeared” are bodies in action restored with intensity and boundless imagination, tracing the four poetic directions in a circle: land, wind, fire, water.
The current complexity between new relationships, such as roboticization and the mediums of communication, between phenomena exercises a strong pressure on society, provoking its transformation and loss of identity. Said phenomena also provoke the escape of their own construction or sovereignty, developing the growth of their subjectivity and vision of the present-future. GOTEO is a participatory action where the public is displaced through symbolic spaces using streamers that will create spaces increasingly smaller in the assigned space of the Chilean city.
Carlos Francisco Leppe Arroyo is a visual and performance artist. He was born October 9th, 1952, and passed away October 15th, 2015 in Santiago de Chile. He studied at the University of Chile, graduating with a degree in Art with a Painting concentration. He has created object art, performances and installations. In the 1970s and 80s, he helped shape the so-called Escena de Avanzada (Advanced Stage). He won the Altazor National Arts Award in 2002 and 2005. He has also worked as an Art Director and Artistic Producer for Chile’s National Television. He participated in the Paris, Trujillo, Sydney and Mercosur Biennials. His work is currently available in public and private collections across Europe, the US and Latin America.
Space: Galería D21
Nueve de Lyon 19, Apt 2 | Phone: (56-2) 23356301
Monday-Friday 11am-7pm | Saturday 11am-3pm
The exhibit consists of the video performance “Las Cantatrices” and recordings of various past performances, including the “Star Action.”
Ese’ejaSpace: Metales Pesados Visual
Merced 316, Santiago, SCL | Phone: (+56) 2 2664 2451
Tuesday-Friday 11am-8pm | Saturday 11am-2pm & 5pm-10pm | Sunday 5pm-8pm
Francisco Casas’ exhibition Ese’eja is the product of an artist’s residency in the southeast Amazon region of Perú, whose forests were at one time an ancestral territory for the ethnic group Ese’eja, a fishing and gathering village whose numbers have been reduced almost to extinction due to diseases and ecological destruction. In this performance — filmed using a 16 mm Bolex camera–, Francisco Casas backpacks along the Tambopata River, descending from the Andean glaciers in Puno toward the mouth of the Madre de Dios River, while in a parallel sequence he progressively cuts his hair in the in the Ese’eja style as part of a performative transfiguration ritual, in a resident’s transformation toward extinction.
Francisco Casas studied Literature at University ARCIS, and holds a masters of Literature and Psychoanalysis from the University of Chile. He is author of Sodoma Mía y Yo, yegua, among others. He founded the art collective The Mares of the Apocalypse, developing extensive work around performance, installation, intervention, and photography. He has written screenplays for short and feature films, including the controversial “The woman passenger.”
Space: Galería Die Ecke
Ave. José Manuel Infante 1208, Providencia, Santiago, Chile | +(56-2) 22690401
Tuesday-Friday 3-7pm | Saturday 11am-2pm
Exhibition opening Tuesday, July 19 at 7:30pm | On view from July 19-23
An exhibition paying homage to Chilean performer Francisco Copello to make his posthumous legacy known. This photography exhibition.
Organized by Gonzalo Rabanal.
Francisco Copello (1938-2006) primarily developed his artistic career in Italy and the United States where he lived interchangeably for 30 years. He later returned to Chile only a decade before passing away. Copello’s work is characterized by corporeal language that spans his artistic production in various formats: collage, photography, print media, performance, mime, and painting. The driving concept and guide for Copello’s work was his own life.
Carlos Francisco Leppe ArroyoSpace: D21 Proyectos de Arte
Nueva de Lyon 19, apt 2 | Phone: (56-2) 23356301
Monday-Friday 11am-7pm, Saturday 11am-3pm
On view from July 19-28.
The show consists of the video performance “Las Cantatrices” and recordings of various past performances, including the “Star Action.”
Carlos Francisco Leppe Arroyo (1952-2015) was a visual and performance artist. He studied Art with a Painting concentration at the University of Chile. In the 1970s and 80s, he helped shape the so-called Escena de Avanzada (Advanced Stage). He won the Altazor National Arts Award (2002, 2005) and also worked as Art Director and Artistic Producer for Chile’s National Television. His works are found in public and private collections across the world.
Juan Domingo DávilaSpace: Galería Principal / Centro Cultural Matucana 100
Ave. Matucana N° 100 Estación Central, Santiago de Chile | Teléfono: (56-2) 296 492 40
Tuesday to Sunday from 10am to 6:45pm
On view July 12- October 16, 2016.
The exhibition Juan Dávila: Imagen Residual presents fifty works by Australian-Chilean artist Juan Dávila made between 2000 and 2016. The selected pieces comprise a vast array of themes and formats—such as videos, panoramic paintings, watercolors, acrylics on paper and posters—while also including his new line of investigation around landscape, the female figure and jouissance.
Juan Domingo Dávila is considered one of the most recognized Chilean artists within the international art world. His work can be found in major art institutions in the U.S, Europe, and Australia, such as the Metropolitan Museum of Art in New York and in The Australian National Gallery, in Canberra. As a painter, he was part of the emblematic Escena de Avanzada Chilean art scene and, since then, has continued to disrupt and blur the boundaries of artistic styles. His paintings often feature iconic figures, references to pop art and comics, with a critical and corrosive view towards the conventional.
Space: Galería AFA
Calle Phillips 16, A-2nd floor, Plaza de Armas
Wednesday 3-7pm | Thursday-Friday 11am-7pm | Saturday 11am-2:30pm
Opening July 14 at 7:30pm | On view from July 15-September 17
History of Art is the history of an eye carving times and resistances. This is the first solo exhibition of Sebastián Gherrë, an artist who through images, portrays the sex lives of contemporary homosexual youth as a living anthropology of desire. Gherrë delves into intimate spaces to document experiences in which sexuality appears as unruly and perverse. The exhibit includes 56 analogous photographs of various sizes and a video.
Sebastián Gherrë (b.1990) is self-taught and has been dedicated to photography since he was 16 years old. In addition to photography, he creates videos of performances that happen during his shootings.
Space: Sala Muller, University ARCIS
Libertad nº 53
Contact: Mario Soro, Vice Recor of Outreach, Communications and Publications, U.ARCIS, diagramasoro@yahoo.es
On view from July 17-31.
An exposition of the photographic archive of the Performance Biennials DEFORMES, with the goal of promoting and circulating the proposals of what has led to this meeting in Chile.
Featuring Silvio De Gracia (Argentina); Alejandra Dorado (Bolivia); Ana Texeira (Brazil); Juan Pablo Ordoñez (Ecuador); Paulina Ellahueñe (Chile); Herner Fischer (Germany); Gisella Ochuli (Switzerland); Irene Loughlin (Canada); Nao Bustamante (USA); Gustavo Solar (Chile); Lee Wen (Singapore); Iroko Kikuche (Japan).
Gonzalo Rabanal is a performance and visual artist. He is a former member of the collective Ángeles Negros, who created art-actions and performances in urban spaces. He is currently collecting autobiographical testimonies for a performance piece in which his father is a source of action and memory. Other works include El cría cuervos, Mal decir la letra, and El cuerpo indecible.
Roberto Varea: Interrupted Powers: Imagination and Place from the Margins
Roberto Varea researches and creates work on live performance as a means of resistance and peacebuilding in social conflict and state violence. His writing and editing include the anthology Acting Together-Performance and the Creative Transformation of Conflict, and numerous journals. He directs community-based projects and teaches at the University of San Francisco.
Milena Grass: Mobilizing Memory
Milena Grass is a translator and theater scholar, whose main fields of interest are practice as research methodology and the relationships between theater, history and memory in post-conflict societies.
Kim Sawchuk: Performing Disability/ Enabling Performance
Kim Sawchuk is a co-founder of the “m.i.a/montreal in/accessible” collective that uses media technologies and performative methodologies to raise awareness of able-ism. She is a co-founder of the Concordia Disability Studies Working Group and a Professor in the Department of Communication Studies. She is author/co-editor of numerous texts on politics and embodiment.
Paolo Vignolo: Ex-cess: Aesthetics and Economics of Festive Performances in the Americas
Paolo Vignolo, associate professor at the National University of Colombia, works on public history and memory studies. Both his publications and his artistic projects focus on: 1) poetics, politics and practices of play and festive performance and 2) cultural heritage, cultural rights and cultural agents. unal.academia.edu/PaoloVignolo
Jorge Hernández: Direct Action Art/ Visual Poetics
Jorge Hernández,Professor & Director of the Institute of Visual Arts, Faculty Of Architecture and Arts of the Universidad Austral de Chile. His research focuses on the fields of performance, Fluxus, art / action and urban intervention. He is co-founder of Black Angels where he took part in the exhibition of Losing the Human Form at the Reina Sofia National Museum (2013).
Moderator: Paola Hernández
Constanza Ambiado: Body and Experience in Research: Approaches to Racism, Memory, and Punishment
Constanza Ambiado is a historian and aesthete at the Universidad Católica de Chile. She is co-coordinator of the Research Group on the Sociology of the Body and Emotions at the Universidad de Chile. Her work is an interdisciplinary approach to understanding practices of violence from the intersections of social sciences and the arts.
Meida McNeal: Hemispheric Blackness: Afro-Diasporic Politics and Performance Across the Americas
Meida McNeal is a Chicago-based independent artist and scholar. She is the Artistic and Managing Director of Honey Pot Performance, a multi-disciplinary Afro-feminist collaborative exploring identity, belonging, and difference. She develops work for the everyday body, tying together individual experience and collective social themes through choreography and ethnography.
Ana Harcha Cortés: Artistic Action, Political Will, and Shaping Collective: Possibilities of a Relationship
Ana Harcha organizes the Empresa de Circo Pacheco-Kaulen. She is professor in the Department of Theatre, Faculty of Arts, Universidad de Chile. With Núcleo Arte, Política y Comunidad, she leads the Comisión Ortúzar in creating interdisciplinary work from the meeting minutes of the 1980 drafting of the Chilean Constitution.
Praba Pilar: Dissident Bodies: Activism Beyond Citizenship and State
Praba Pilar is a Colombian multi-disciplinary artist, technologist and cultural theorist exploring aspects of emerging technologies which generate globalized forms of economic and ecological crisis. She presents counter narrative performances, street theatre, interactive installations, digital artworks, writing and websites.
Jorge Díaz, Felipe Rivas San Martín: Sexualidades Excéntricas: Performance at the Edge
Jorge Díaz is a sexual dissidence activist, biologist, poet, and feminist, with a PhD in Biochemistry from the Universidad de Chile. He has been a member of the Colectivo Universitario de Disidencia Sexual (CUDS) since 2008. He has written and published articles on biopolitics, feminist theory and aesthetics, and has also participated in art and sexual politics-related conferences.
Moderator: Felipe Rivas San Martín
Brian Batchelor: Artist as Repertoire: Unceded Imaginaries
Brian Batchelor is a PhD candidate in Theatre and Performance Studies at York University. His research is a performance studies informed ethnography of tourism and its manifestations in San Cristóbal de las Casas, Chiapas, Mexico. His work has appeared in Anthropologica, Canadian Theatre Review, Theatre Research in Canada, and Dancing with the Zapatistas.
Pablo Assumpção Costa: Performance Practice as Research
Pablo Assumpção Costa, Assistant professor of Performance at Instituto de Cultura e Arte, Universidade Federal do Ceará. He holds a Ph.D. in Performance Studies from NYU. He has experience in gender and sexuality performance and performativity, city and corporality, eroticism, popular culture and experimental ethnography. He is a professor at the post-graduate Arts program at UFC.
Carla Melo: Work/Chop/Group: Urban Observation and/or/versus/plus/with Urban Action
Carla Melo is a scholar, educator, performance artist, and director of CorpOLuz Theatre, based in Toronto. Her creative work and research center on the intersections of performance, corporeality, memory and public space. Her writings have been published in TDR, Canadian Theatre Review and Latin American Cultural Studies, among others.
Julieta Paredes: The Body Territory and the Territory as Body
Julieta Paredes is an urban Aymara woman and is a poet, singer-songwriter, author, and graffiti-artist. She is a part of Women Creating Community and, together with the Assembly of Communitarian Feminism, created a current of thought and action called Communitarian Feminism, bringing together women throughout the continent.
Anna Kazumi Stahl: Performing Asian/ Americas: Converging Movements
Anna Kazumi Stahl is a fiction writer and holds a PhD in Comparative Literature from the University of California, Berkeley. Her research explores Asian-Latin American cultural expressions and comparative analysis with Asian-North American perspectives. She is author of Catastrofes naturalesand Flores de un solo día. She teaches Creative Writing at NYUBA.
Moderator: Ana Paulina Lee
Lorenza Aillapán
Lorenza Aillapán, FILL AD CE MAPUNCE:/ Fill ad ce Vllkantun ka purrvn: Interpreter of Mapuche Ancestral Music and Dance. She is an artist, singer and activist-interventionist in Performing Arts and researcher of Mapuche theatricality; artistic director of “weichan purrvn”: dances of resistance; Mapuche Bilingual Intercultural Educator in artistic and socio-cultural organizations and in indigenous communities.
Alvaro Villalobos
Álvaro Villalobos was born in Bogotá, Colombia in 1963. An UNAM (Mexico) and ASAB (Colombia) alum, he works on social and political issues through performances, videos, installations and photographs. He has received various art and research residencies to create his work and is currently a postgraduate student.
Julie Nagam
Dr. Julie Nagam is the Chair in the History of Indigenous Art in North America with the University of Winnipeg and the Winnipeg Art Gallery. She has shown her artwork and research nationally and internationally.
César Martínez
César Martínez (1962) works to tackle different economic, social, and cultural issues that have arisen in the last few decades. From a logic of provocation, critique, and disturbance, he uses multiple media to confront topics such as the social surfeit against a failed system, the failure of institutions, and globalization.
The Illuminator
The Illuminator is a political art collective based in New York City that utilizes guerrilla projections in the urban landscape as their primary strategy for intervention.
Moderator: Leticia Robles-Moreno