27.06.2020
Museo de Artes Visuales, Santiago, Chile
June 23, 2020
There is a portal where two distant spaces connect, it is a tunnel through which the objects travel to find their original meaning.
Objects come from our fields, from our homes, they are of daily use, but they are also our ceremonial objects. They are now heading through space into the glow of the sky, spiraling up into the portal of light. Shaking off the dust and leaving behind the conservation drawers, the archaeological cataloging tags disappear. Thus, flying, they channel their energy to recover the condition of living objects, carriers of wisdom. It activates our energy, our way of seeing and living the world today.
Voices are heard as objects move through the portal on their way to Wenu Mapu, the Land of Heaven —we are not museum objects, we are a living culture. A silhouette is seen, it is a familiar portrait, a horse recognizes the scent of a Kultrún, a branch of Föye / Canelo travels by the water of the river until finding the hands of a Machi.
The process is ongoing, it has already begun.
In this space and for an indefinite time a prayer will be raised day and night. When the process culminates, our objects will be lighter and they will have regained the secret of why we are here.
Spiritual instinct rather than reason.
—Text and curatorship by Francisco Huichaqueo Pérez
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Francisco Huichaqueo graduated in painting at the University of Chile and then pursued studies of Documentary Film at the Chilean Film School. He has worked in the curatorial team of video art, animation and experimental cinema samples and has worked as a teacher in experimental video, digital animation, drawing and color in different educational institutions.
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Wenu Pelon en 3D: https://my.matterport.com/show/?m=ae3bszt2XGv
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25.04.2024
Extract
EXTRACT is an online section where we share some of the texts published by Temblores Publicaciones, the publishing imprint of Terremoto. We present “Atravesar la historia de un volcán para llegar aqui” by Paulina Ascencio Fuentes and Sandra Rozental, from Habitar el colapso. A review of Cynthia Gutiérrez’s exhibition of the same name here.
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