marks left by the earthquake do not persist. The cultural center front Mapocho extends a park we got and we ended up here in the School of Fine Arts. The facade is cracked and there are huge landslides masonry. If you enter the MAC (Museum of Contemporary Art) you're faced with the display of a hanging wall at the entrance. But the most interesting of the MAC are the exposures which, although small, trapped in a kind of attraction that leaves you wanting more. And one of them, not coincidentally, plays the video of how some artists symbolically the facade repaired after the earthquake. And is there behind the wall: a wall of A4 sheets that assemble the various parts of the front, next to each other, with minotaurs and deformed creatures. And the wall cracks and cracks and detachment of plaster that looks like the map of chile, in fact, I do not know whether or not a sham, because it is so similar to the map, I mistook what he just went in and only after a long time, I I realized that was not a map but detachment.
But that building, on the other end, is the Museo de Bellas Artes. Samples also modest and a large building complex disorder for parts. An exhibition left me dumbfounded. It is the collective display of the present Chilean artists: Carlos Altamirano and Gonzalo Díaz. There are two pictures that have something that brings out the beast itself and feeds.
One of Carlos Altamirano. A dove, maybe of peace-but not white, "or pigeon that abounds in Chile or that other blue bandadosa played ad nauseam in the poetic production and bourgeois landscaping. But neither can nor wants to be read from any of these coordinates. And the dove is open to a perfect dissection and various hooks will stretch the skin to the sides so we can see their organs. One of those hooks, pulls the intestine outside the body and lifts it above the neck. The look of the Dove conveys all the peace and beauty you can imagine, but his physicality reminds us that there is nothing there in spirit, but matter alone, rather, pure violence on the subject of a surgeon has decided not to hide more bodies and the body behind the beatific gaze, and who knows what purpose. The work is supported by the contrast and the suggestion that any moral is to hide the internal body after the petrification of a surgeon-absent but always present-of the scene. And that tension is correlative to the print and mixed media from painting that has been used, as if the surgeon wanted to hide the pictorial quality of his work and that, like the dove, but did not show a device made of pure body and pure intent.
The other, belonging to Gonzalo Díaz. This is a mixed media piece, half printing half plant and, in fact, is composed of two opposing pieces. In one, the artist draws a conventional landscape and looks embarrassed, but as a pure gesture-out parody. It is framed in a kind of poster, which reads as follows: "PAINTING ON REQUEST. We do not recommend more than one year. " And above that: "Violence, action, intrigue and performance in the last play of the author of 104 Km. It is a painting off the charts! ". Outside, on the wall, the performance is defined as that which occurs when the artist emerges as a support for the work. And then, one serving the second part of this work of Diaz. This is a giant of himself photographing the poster where he also paints a landscape on request. The commodification of the work appears as well, coagulated in a frameset: a poster advertising holds within the privacy of the workshop and, in turn, both are locked into the mechanical reproduction of the photograph that clearly, refers to this definition of performance in a museum in which an artist does nothing but show itself in every line of execution of his work. And there, in that game fetish of mirrors and frames, desecrates the artist himself, parodying its own conditions of survival and relapse in commissioned work to which need to avoid doing more than once a year. Performative force arises where the support is the artist-in vain attempts to ruin himself and that is, after all, the only safeguard you have against the deification that the market seeks the artist as a consumer brand or mere advertising poster that should sell a perfection and an aura where there's only attempt at survival.
These two works have a power that can not be defined simply and must see to understand. For the Beast approach defies or translation and forces, always, use and personal experience as the only means of contact with her, even though we never touch, given our insignificance, our nothingness, our frailty hooks supported by cold weather.
But that building, on the other end, is the Museo de Bellas Artes. Samples also modest and a large building complex disorder for parts. An exhibition left me dumbfounded. It is the collective display of the present Chilean artists: Carlos Altamirano and Gonzalo Díaz. There are two pictures that have something that brings out the beast itself and feeds.
One of Carlos Altamirano. A dove, maybe of peace-but not white, "or pigeon that abounds in Chile or that other blue bandadosa played ad nauseam in the poetic production and bourgeois landscaping. But neither can nor wants to be read from any of these coordinates. And the dove is open to a perfect dissection and various hooks will stretch the skin to the sides so we can see their organs. One of those hooks, pulls the intestine outside the body and lifts it above the neck. The look of the Dove conveys all the peace and beauty you can imagine, but his physicality reminds us that there is nothing there in spirit, but matter alone, rather, pure violence on the subject of a surgeon has decided not to hide more bodies and the body behind the beatific gaze, and who knows what purpose. The work is supported by the contrast and the suggestion that any moral is to hide the internal body after the petrification of a surgeon-absent but always present-of the scene. And that tension is correlative to the print and mixed media from painting that has been used, as if the surgeon wanted to hide the pictorial quality of his work and that, like the dove, but did not show a device made of pure body and pure intent.
The other, belonging to Gonzalo Díaz. This is a mixed media piece, half printing half plant and, in fact, is composed of two opposing pieces. In one, the artist draws a conventional landscape and looks embarrassed, but as a pure gesture-out parody. It is framed in a kind of poster, which reads as follows: "PAINTING ON REQUEST. We do not recommend more than one year. " And above that: "Violence, action, intrigue and performance in the last play of the author of 104 Km. It is a painting off the charts! ". Outside, on the wall, the performance is defined as that which occurs when the artist emerges as a support for the work. And then, one serving the second part of this work of Diaz. This is a giant of himself photographing the poster where he also paints a landscape on request. The commodification of the work appears as well, coagulated in a frameset: a poster advertising holds within the privacy of the workshop and, in turn, both are locked into the mechanical reproduction of the photograph that clearly, refers to this definition of performance in a museum in which an artist does nothing but show itself in every line of execution of his work. And there, in that game fetish of mirrors and frames, desecrates the artist himself, parodying its own conditions of survival and relapse in commissioned work to which need to avoid doing more than once a year. Performative force arises where the support is the artist-in vain attempts to ruin himself and that is, after all, the only safeguard you have against the deification that the market seeks the artist as a consumer brand or mere advertising poster that should sell a perfection and an aura where there's only attempt at survival.
These two works have a power that can not be defined simply and must see to understand. For the Beast approach defies or translation and forces, always, use and personal experience as the only means of contact with her, even though we never touch, given our insignificance, our nothingness, our frailty hooks supported by cold weather.
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