With the former residents of Villa San Luis: María Caceres, Antonieta Miranda, Ximena Salinas, María Aravena, Jovita Sandoval, Graciela Gómez, Adela Bustamante, Jimena Mendez, Bernarda Reyes, Miguel Manríquez, Mirna Parada, Olga Rojas, Aidé Contreras, Rosa Vargas, Olga Barriga, Margarita Monges. Neoliberal expropriation, urban devastation, architecture of destruction, eviction, dispossession are concepts, we have observed in …
The Performance consisted of each carrying a sign on the chest, with a question: Claudia’s poster said: Why are you smiling? And my poster said: Why are you sad? For me these two simple questions that appeal to an emotional sphere were subversive, at a time when censorship played a determining role at all levels …
The pseudo-democracy, the pacts of silence, the Amnesty Law, the impunity regarding the violation of Human Rights, were the context. From an organic vision of the city, I make a parallel between my body and the territory, between the blood and the river. Invoking from the water, as a vital principle, all its power of …
From the photographic record of the previous Performance: The blood, the river and the body, I chose a slide, where I am wrapping myself with the bloody canvas. This image was projected like a gigantografía, in a wall of the Faculty of Right of the University of Chile. The image was fixed. From that same …
I’m braking fallen branches of native trees and centenaries, from the Botanical Garden of Chiloé and I’m installing them in a central room of the museum. The broken branches suggest bones, with them I form a square on the ground. Decontextualization, extinction is approaching… The original trees are devastated by monoculture and the wood industry. …
Within the framework of the First Encuentro de Performance, in the context of the sample Anamorfosis, MAC, 1998 I use newspaper paper, which I extend geometrically on the floor of the central hall of the MAC, then I dismantle everything and put the remains in the holes of my body: my ears, my nose, my …
First part In front of the Parliament in Valparaíso, Chile Surrounding the Parliament, I walked barefoot, dragging a white gauze, dressed entirely in black. I stopped in front of the main entrance of the Parliament, on the cement cross of the circular grass bench I contemplated the immense and alien building, the Dictator had appointed …
Over months I’m collecting and selecting 3,000 fallen leaves from the street. I’m storing them between sheets of paper. I’m putting them under pressure, so that they remain straight. Later I’m building a huge rectangle with them in the central hall of La Perrera Arte. The leaves are arranged in an obsessively, mathematical manner, side …
This work consists of a series of 90 Performances-Installations that I made daily, during almost two months, in the framework of the II Biennial of Young Art, in Santiago, between January 7 and March 7 of 1999. The Performances and Installations were made inside and outside the museum at places related to torture and detention. …
A theater-dance work with live music, which dealt with male/female conflicts: closeness, violence, distance, passion, rivalry, love. For my performances I had total artistic freedom. The director and the company did not know what I was going to do. They trusted blindly in my ability. I used to stick to the subject of the work, …