Chilenische Video Abend: Resistance, Fall and Madness - Exhibition Text

Curated by Paz Aburto Guevara


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The conflictive coexistance of the socialist political model and a neoliberal economy, in many of the Southamerican countries, was the subject of the exhibition „Die Kunst erlo?st uns vor gar nichts“. This selection of chilean videos presents three positions in this diagram: resistance, fall and madness.

Resistance. Not as the classical opposition against the dominant model, resistance it is seen as a fertile strategy to form alternatives: from the home-made T.V. of Ce?spedes, the open use of electricity and gasoline sources by Navarro to the memory as the last resisting form to save the extinguish Selknams of South Chile by Moraga and the pictorical physical resistance of Ferrer, which work exhibits the resistance as a methodology for supporting the fatigue and prolonging the work with out any decrease on the performance.

Resistance
Juan Ce?spedes: „Inside“ (1998) 6:30
Iva?n Navarro: „Homeless Lamp, The Juice Sucker“ (2005) 4:30
Iva?n Navarro: „Flashlight: I ?m not from here, I ?m not from there“ (2006) 7:30
Marcela Moraga: „Like a Selknam“ part of Radio Performances (2005) 1:50
Pablo Ferrer, „Cuadro Vivo“ (2005) 15:00

Fall. In the tense convergence of socialism and neoliberalism in Chile, both programs failed in vast areas of there propose. The decline and destruction of symbols by Viera-Gallo & Marambio contain all the concrete falls, from the last decades until today, and also the potential ones about to come: from the coup d ?e?tat against the socialist president Allende on September 11th, in 1973, by Aravena ?s work; the increase of fear and public control shifting the freedom to limited practices by Moraga ?s and by Endress ?s videos; the industrial damage over the urban suburbs by Letelier and by Ferna?ndez and over the peripheries and the countryside by Redondo and by Garci?a; to the most radical descent; the ground cero, as Correa in his fall to the cero kilometre, located in the central square where Santiago was founded, or the loss of sense through the surviving signs of the actual Babel declination in Schopf ?s work.

Fall
Manuela Viera-Gallo y Benjami?n Marambio: „La Cai?da de los Si?mbolos“ (2006) 1:40
Demian Schopf: „Babel (Hro?n)“ 2:40
Claudia Aravena: „11 de Septiembre“ (2002) 5:30
Marcela Moraga: „The Rebel Bildings“ part of Radio Performances (2005) 2:00
Edgar Endress: „Prelude for Meditation“ (2006) 2:00
Michelle Letelier: „Momentos“ (2005) 4:55
Carola Redondo, „ZEMENT “ (2006) 3:00
Isabel Garci?a: „Country“ (2003) 0:22
Diego Ferna?ndez: „Relaciones sobre un Horizonte de Mentira“ (1994) 1:00
Claudio Correa ““Kilo?metro Cero“ (2004) 3:15

Madness. Are the free points, from the ones we can understand the whole. Not as a sickness, but as an irrational force from which we can judge the rational, aloud the coexistence of history and fiction and impulse the fantastic and otherness. Through the theatre Moreno forms this parallel modus, where the world becomes scenography; the altered film by Leon transform the strangeness in to normality and Briceño's excess as a critic to the conventions, while Urria's work shift the nude and the gallery white cube to an unconscence space for desire and fear.

Madness
Daniel Urria: „Getting it over with“ (2006) 0:42
Cristobal Leo?n: „La Luz de tus Ojos“ (2006) 2:05
Luis Bricen?o, “Blind Date” (2003) 4:30
Alejandro Moreno: „Leila, a un Mili?metro de mi?“ (2005) 28:00

Resistance. Following the last section, Madness works as away to resist, convocating a cyclic structure. Two crucial references for the Chilean video production: Rosenfeld ?s death signs under the dictatorship in Chile and Gordon Matta Clarck ?s FOOD restaurant as an alternative for art and life.

Resistance
Lotty Rosenfeld: „Una Milla de Cruces sobre el Pavimento“ (1979) 4:40
Lotty Rosenfeld: „Proposicio?n para (entre) cruzar Espacios Li?mites“ (1983) 4:40
Gordon Matta-Clark, „FOOD“ (1972) 43:00

Special thanks to Michel de Broin, Jane Crawford, Corinne Diserens and Goethe-Institut Santiago.