THIRD GALLERYThe production of truth and the negation of oblivionOn imagination as a form of re-presentation. On fiction as a strategy of resistance. Where fantastic characters and mythological figures (zombies, mummies, pishtacos) hypostatize to underscore the need to read fiction against the grain, not as illusion or make-believe, but as a form of documentation and mediation that escapes historical positivism (Anselm Franke). On how the role of the human and the non-human, of living and dead matter, of victim and victimizer, has changed over the years and across various territories. Where the way in which bodies confer and how they make themselves heard is being discussed. |
Pierre Huyghe
Dead Indian Hill
Photograph
Courtesy of the artist and Marian Goodman Gallery, New York
This photograph taken in the Atacama desert (what is believed to be the skeletal remains of a mining worker) expresses the artist's fascination for this carcass that represents a sign of life in a lifeless place. The feeling of extreme climate change that stimulated life or death is something that the artist underlines and explores in many of his works.
The works of Pierre Huyghe (Paris, 1962) push the boundaries between fiction and reality. His work materializes in a variety of media that include movies, live situations or exhibitions, which sometimes operate as ecosystems in themselves.
Dead Indian Hill
Photograph
25 x 37 3/4 in
2016
Courtesy of the artist and Marian Goodman Gallery, New YorkThis photograph taken in the Atacama desert (what is believed to be the skeletal remains of a mining worker) expresses the artist's fascination for this carcass that represents a sign of life in a lifeless place. The feeling of extreme climate change that stimulated life or death is something that the artist underlines and explores in many of his works.
The works of Pierre Huyghe (Paris, 1962) push the boundaries between fiction and reality. His work materializes in a variety of media that include movies, live situations or exhibitions, which sometimes operate as ecosystems in themselves.
Rometti Costales
Song for a Chanting Fossil I and II
Mixed media: Installation made from bronze, electric cables, led bulbs, woven totora ropes, steel cable and rails, bird bones from the desert of Atacama
Courtesy the artists, KADIST collection
To create this work, Rometti Costales casted in bronze the branches of an araucaria tree using the lost-wax technique (also known as precision casting), cut fragments of steel rails such as those used during the Pinochet dictatorship to dispose of corpses, and organic remains of birds from the Atacama Desert, an environment that contains several traces of the economic and political history of Chile. By amalgamating all these elements in a single piece, the artists refer to the process of fossilization through which one material replaces another and inscribes itself into the landscape. By referring to the displacement and decontextualization of objects, bodies, and materials, Rometti Costales (Mexico City, 2007) opens a series of questions about how the narrative frameworks of social and cultural history are preserved and transmitted, and how their spatial and temporal dimensions can be deployed to other geographical locations.
Song for a Chanting Fossil I and II
Mixed media: Installation made from bronze, electric cables, led bulbs, woven totora ropes, steel cable and rails, bird bones from the desert of Atacama
Dimensions variable
2019
Courtesy the artists, KADIST collection
To create this work, Rometti Costales casted in bronze the branches of an araucaria tree using the lost-wax technique (also known as precision casting), cut fragments of steel rails such as those used during the Pinochet dictatorship to dispose of corpses, and organic remains of birds from the Atacama Desert, an environment that contains several traces of the economic and political history of Chile. By amalgamating all these elements in a single piece, the artists refer to the process of fossilization through which one material replaces another and inscribes itself into the landscape. By referring to the displacement and decontextualization of objects, bodies, and materials, Rometti Costales (Mexico City, 2007) opens a series of questions about how the narrative frameworks of social and cultural history are preserved and transmitted, and how their spatial and temporal dimensions can be deployed to other geographical locations.
Cristóbal Lehyt
Untitled (Given a wall, what's happening behind it?)
Mixed media on plexiglass
Courtesy the artist (both works), KADIST collection (on the right in the gallery)
Cristóbal Lehyt (Santiago de Chile, 1973) has conducted thorough research on the historical and cultural complexity of the northern region of Chile where the Atacama Desert is located. This area, rich both in terms of its cultural heritage and its natural resources (such as the copper mines), is at the origins of some of the most dramatic episodes in the country’s recent political history. With the series Untitled (Given a wall, what's happening behind it?), Lehyt invites the viewer to read the inscription of death in the desert landscape, while raising questions on the status of the image: How does it respond to its original environment, and how does it portray the history of the context that generates it? In whose name does an image speak and what kind of drama does it project?
Untitled (Given a wall, what's happening behind it?)
Mixed media on plexiglass
48 x 48 in
2013
Courtesy the artist (both works), KADIST collection (on the right in the gallery) Cristóbal Lehyt (Santiago de Chile, 1973) has conducted thorough research on the historical and cultural complexity of the northern region of Chile where the Atacama Desert is located. This area, rich both in terms of its cultural heritage and its natural resources (such as the copper mines), is at the origins of some of the most dramatic episodes in the country’s recent political history. With the series Untitled (Given a wall, what's happening behind it?), Lehyt invites the viewer to read the inscription of death in the desert landscape, while raising questions on the status of the image: How does it respond to its original environment, and how does it portray the history of the context that generates it? In whose name does an image speak and what kind of drama does it project?