Contemporary Art in the Americas Arte Contemporáneo en las Américas

Embodied Absence: Chilean Art of the 1970s Now

Elías Adasme, Carmen Beuchat, Felipe Mujica with Johanna Unzueta, and more...

Carpenter Center for the Visual Arts Cambridge, Massachusetts, USA 10/27/2016 – 01/08/2017
3-ccva_embodied-absence_install-3

Installation view, Embodied Absence: Chilean Art of the 1970s Now, Carpenter Center for the Visual Arts, Sert Gallery, Oct 27, 2016–Jan 8, 2017. Left: Carlos Leppe, Las Cantatrices, 1979. Right: Francisco Copello, Il Gioco dell´Ambiguita (The Ambiguity Game), 1977. Courtesy Carpenter Center for the Visual Arts, Harvard University.

475.1982

CADA (Colectivo Acciones de Arte), So as Not to Die of Hunger in Art (Para No Morir de Hambre en el Arte) (still), 1979. Video (black and white, sound). 20 min. The Museum of Modern Art, New York. Gift of the artists. © 2016 CADA (Colectivo Acciones de Arte).

carmen-beuchat-performance_-opening-dance_02

Performance photography, Carmen Beuchat, Two not One II, 2016, Embodied Absence: Chilean Art of the 1970s Now, Carpenter Center for the Visual Arts, Sert Gallery, Oct 27, 2016–Jan 8, 2017. Courtesy Carpenter Center for the Visual Arts, Harvard University.

Artists: Elías Adasme, Carmen Beuchat, Felipe Mujica with Johanna Unzueta, CADA (Colectivo Acciones de Arte), Francisco Copello, Luz Donoso, Juan Downey, Carlos Leppe, Catalina Parra, Lotty Rosenfeld, UNAC (Unión por la Cultura), Cecilia Vicuña, and Raúl Zurita with Cristóbal Lehyt.

Responding to the coup d’état and its aftermath in the 1970s, Chilean artists residing in Santiago and abroad created works that spoke to their experience of political, social, and geographic marginalization during the early years of the Pinochet dictatorship. These artists developed highly coded languages to evade censorship, exhibited work in public space in lieu of institutional support, and formed independently run galleries and artist collectives to protect their individual identities. The results were frequently ephemeral works that utilized the human body and impermanent materials as primary mediums, thus disappearing following initial presentations and interventions.

Embodied Absence: Chilean Art of the 1970s Now brings works of art and documentation from this historic period into dialogue with new performances and collaborations with contemporary Chilean artists of a younger generation. The exhibition forefronts the challenges of historicizing elusive artworks by presenting works that take photographic and video documentation and human memory as points of departure and reactivating, rearticulating, and witnessing the interventions and works through the lens of the contemporary moment.

http://ccva.fas.harvard.edu/

3-ccva_embodied-absence_install-3

Installation view, Embodied Absence: Chilean Art of the 1970s Now, Carpenter Center for the Visual Arts, Sert Gallery, Oct 27, 2016–Jan 8, 2017. Left: Carlos Leppe, Las Cantatrices, 1979. Right: Francisco Copello, Il Gioco dell´Ambiguita (The Ambiguity Game), 1977. Courtesy Carpenter Center for the Visual Arts, Harvard University.

475.1982

CADA (Colectivo Acciones de Arte), So as Not to Die of Hunger in Art (Para No Morir de Hambre en el Arte) (still), 1979. Video (black and white, sound). 20 min. The Museum of Modern Art, New York. Gift of the artists. © 2016 CADA (Colectivo Acciones de Arte).

carmen-beuchat-performance_-opening-dance_02

Performance photography, Carmen Beuchat, Two not One II, 2016, Embodied Absence: Chilean Art of the 1970s Now, Carpenter Center for the Visual Arts, Sert Gallery, Oct 27, 2016–Jan 8, 2017. Courtesy Carpenter Center for the Visual Arts, Harvard University.

Artistas: Elías Adasme, Carmen Beuchat, Felipe Mujica con Johanna Unzueta, CADA (Colectivo Acciones de Arte), Francisco Copello, Luz Donoso, Juan Downey, Carlos Leppe, Catalina Parra, Lotty Rosenfeld, UNAC (Unión por la Cultura), Cecilia Vicuña, y Raúl Zurita con Cristóbal Lehyt.

Respondiendo al golpe de Estado y sus consecuencias en 1970, los artistas chilenos que residían en Santiago y en el extranjero crearon piezas que hablaban de su experiencia política, social y marginalización geográfica durante los primeros años de la dictadura de Pinochet. Estos artistas desarrollaron lenguajes altamente codificados para evadir la censura, exhibieron sus piezas en espacios públicos en lugar de apoyo institucional y formaron galerías administradas independientemente y colectivos de artistas para proteger sus identidades individuales. Los resultados eran obras efímeras que utilizaban el cuerpo humano y materiales transitorios como medio principal, desapareciendo así próximas presentaciones e intervenciones.

Embodied Absence: Chilean Art of the 1970s Now [Ausencia encarnada: arte chileno de los años 70 ahora], reúne obras de arte y documentación de este período histórico para el diálogo con nuevas presentaciones y colaboraciones con artistas chilenos contemporáneos de una generación más joven. La exhibición hace frente a los desafíos de hacer historia de obras elusivas, al presentar trabajos que toman documentación en forma de fotografías, videos y la memoria humana como puntos de partida y reactivando, rearticulando y atestiguando las intervenciones y obras a través de los lentes del momento contemporáneo.

http://ccva.fas.harvard.edu/

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