Maria Elena Company town, today SOQUIMICH company, photo by Alvaro Muñoz  for THE FOUNDATION Project 2018. 

[EN]


My practice has been developed in the world of mining, problematizing the actions of raw material producers through culture as a generator of influences on a global scale. I work from sculpture in an expanded field, creating shifts towards video, photography, sound, and 3D digital modeling (digital fabrication and animation).
My creative methodology explores, traces, excavates, collects, organizes, and reinterprets layers of information, using archive documents as a base of creation process. Those traces of the past and material remains are transformed into new productions of meaning that make up my body of work, seeking to deconstruct and rewrite official narratives, playing with concepts such as irony and uchronia, creating both digital and analog simulations and metadatas.
Currently, I propose approaches to the theme of art and mining, exploring the relationship between humans, technology and natural world. Motivated by theories of posthumanism and new materialism, I seek to articulate work that urges (re)thinking the associated impact of mining activity.


[ES]


Mi práctica artística se ha desarrollado en el mundo de la minería, problematizando el accionar de los productores de materias primas a través de la cultura como generadora de influencias a nivel mundial. Trabajo desde la escultura en un campo ampliado, creando desplazamientos hacia el video, la fotografía, el sonido y el modelado digital 3D (fabricación y animación digital). Mi práctica explora, rastrea, excava, recopila, organiza y reinterpreta capas de información (archivos), vestigios del pasado y restos materiales, para luego transformarlos en nuevas producciones de sentido que conforman mi corpus de obra, buscando deconstruir y reescribir narrativas oficiales, jugando con conceptos como la ironía y la ucronía, creando simulacros y metadatos tanto digitales como analógicos. Actualmente propongo acercamientos a la temática arte y minería, explorando la relación entre lo humano, la tecnología y el mundo natural. Motivado por teorías del posthumanismo y el nuevo materialismo, busco articular un trabajo que inste a (re)pensar el impacto asociados a la actividad minera.




BORN IN CHILE (1985).

Multidisciplinary artist and professor based in Santiago of Chile.

EDUCATION 
2011       
BA in Arts. Pontificia Universidad Católica De Chile.

2008
BA Arts Education & Pedagogy in Arts.  Universidad Metropolitana De Ciencias De La Educación.


COMPLEMNTARY FORMATION
2015
3D modeling course. Achitecture faculty. Universidad De Chile.

2011
Workshop at Fernando Sánchez Castillo (Esp). Universidad De Chile
Workshop Art & Technology. Universidad Autonoma De Santiago. Chile.


FELLOWSHIPS, STIPENDS, AWARDS

2024
National culture and art fund contest FONDART artistic creation . Ministry of culture and arts. Chile.
2022
Project White Lands in Santa Cruz de la Sierra (Bolivia). Contest Dirección de Asuntos Culturales del Ministerio de Relaciones Exteriores (DIRAC). Chile.

2021    
Grant Artistic Creation FONDART Metropolitan. Ministry of culture and arts. Chile.

2021    
Grants Artistic Creation FONDART O`higgins. Ministry of culture and arts. Chile.

2020   
Grants Artistic Creation FONDART. Ministry of culture and arts. Chile.

2019   
Prize APECH José Balmes. Painters and Sculptures Association of Chile (APECH), and Ministry of Cultures and Arts. Chile.

2018   
Award Gabriela Mistral Gallery for Contemporary Art. Ministry of Cultures and Arts. Chile.
Grants Artistic Creation FONDART. Ministry of Cultures and Arts. Chile.

2017   
Grants Artistic Creation FONDART. Ministry of Cultures and Arts. Chile.

2013   
Fellowship BBK-BILBAO ARTE Production and residency. BilbaoArte Fundazioa y Bizkaia Kutxa BBK. Bilbao. España.

2011   
Showroom Contest, Ministry of Culture sand Arts and CHA.CO Fair.  (finalist)

2005   
Prize of sculpture Alumni Universidad Metropolitana de Ciencias de la Educación. Chile.


RESIDENCES
2024
Art and nature research center  L’Aquila Reale di Licenza. Roma. Italy.
2024
Residency CENAC, National Center of contemporary art Cerrillos. Santiago. Chile.
2015   
Residency La Tirana Móvil, Arts Faculty Pontificia Universidad Católica de Chile. La Tirana. Chile.

2013   
Residency Fundazioa BilbaoArte. Bilbao. España.


SOLO EXHIBITIONS
2023
White Lands. Manzana Uno art space. Santa cruz de la Sierra. Bolivia.
2022
Mining Data. Contemporary Art Museum U. de Chile. Santiago. Chile.
Mining Data. Centro Extensión Patrimonio y cultura UOH. Ohiggins University. Rancagua. Chile.
2020
Mechanical Logic Escapes All Human Will. APECH Gallery. Santiago. Chile.

2019 
Doodles for Us. Guillermo Núñez Gallery. Santiago. Chile.
Fluxus, Metal Economies vol.3. Community Museum of Coya. Ohiggins Region. Chile.
Interference, Metal Economies vol.2. Historical and Regional Museum of Rancagua. Chile.

2018   
La Fundación. Gabriela Mistral Gallery of Contemporary Arts. Santiago. Chile
LLurimagua Project. Nahim Isaias Museum. Guayaquil. Ecuador.
Diagram, Metal Economies vol.1. Agustín Ross Cultural Center. Pichilemu. Chile.

2017   
Raw Material. Historical and Regional Museum of Rancagua. Chile.

2014
The Black, a Memory Problem. Sala AM. Santiago. Chile.

2013
The Ignorance of Development. Fundazioa Bilbaoarte. Bilbao. España.

2012    
Poetics Abouts Ruins. Bicentenario Gallery, Centro Cultural Estación Mapocho. Chile.

2011   
Build the Ruins. Espacio Vilches. School of arts Pontificia Universidad Católica de Chile.


GROUP EXHIBITIONS

2024
Collective. OMA gallery. Santiago. Chile. Art Fair FAST. Feria Subterraneo Temporal. Santiago. Chile
Persa del Arte. Factoria Santa Rosa Gallery. Santiago. Chile.
2023  
.Art Fair Pinta Parc. Factoria Santa Rosa Gallery. Lima.  Perú
Art Fair MAPA. Oma Galeria. Buenos Aires. Argentina.
Art Fair FAST. Feria Subterraneo Temporal. Santiago. Chile.

2022  
Arte&Punto. Patricia Ready Gallery. Santiago. Chile.
2019   
Autorretrato/Autorreferencialidad. ACE Contemporary Art Foundation. Buenos Aires. Argentina.

2017   
Reserva Federal. Infrarrojo Gallery. Santiago. Chile.
(Des) centrarnos: cuanto más cerca más lejos (CNCA). Sala de Arte UCM, Talca. Chile
Distrito 11. LOCAL Gallery. Santiago. Chile.
Chile Limita al Centro. Museum of Contemporary Art (Traslado Program). Santiago. Chile.

2016   
Biblioteca Audiovisual. Contemporary art fair Mercado del Arte. Córdoba. Argentina.

2014   
Young Art Contest Minera Escondida. Visual Arts Museum MAVI. Santiago. Chile.

2013   
Puertas Abiertas, Fundazioa  Bilbaoarte. España.
The History of the creative. See space New York. USA.
Vector Game+Art Convergence. Toronto. Canada.

2012   
País Emergente. Balmaceda Young Art Gallery. Santiago. Chile.
Project Berlin: Not Only. Factory Art Gallery Berlín. Germany.

2011   
Young Art Contest, Cabeza de Ratón. Visual Arts Museum MAVI. Chile.

2011   
OCUPA: 20 artistas & 1 curadora. José Miguel de la Barra Space. Santiago Chile.
Puentes, Caminos en el Agua. Museum of Contemporary Art MAC. Chile.
Showroom. Pabellón del Centro Nacional de la cultura y las artes (CNCA), Feria CH.ACO. Chile.
Concurso Universitario Balmaceda Arte Joven. Museum of Contemporary Art MAC. Chile. 

2010   
Nuevos Imaginarios, Sala Zegers , Universidad de Chile. Santiago. Chile.
Operación Novela. Biblioteca de Santiago. Chile.
Fuera de lugar. Galería Guillermo Núñez. Santiago. Chile.


PERFORMANCES, PRESENTATIONS, SCREENINGS 
2019
Dossiere presentation. Atellier 4 School of arts Universidad Finis Terrae. Chile.

2016   
Dossiere presentation to curators of Traslado Program. Historical and Regional Museum of Rancagua. Ministry of Cultures and Arts. Chile. (selected)

2014   
Performance, Monument to the Ruin. Artistic intervention at public space on Rancagua, collaboration of City Council of Rancagua. Chile

2013   
Performance, The Brick Launcher in Love. Artistic intervention at public space on Bilbao City. Spain. collaboration of City Council of Bilbao and Bilbaoarte Foundation.
Dossiere presentation (art works in residency). Auditorium of Bilbaoarte. Bilbao. Spain.
Screening artworks The History of the Creative. See space New york. USA.

2012   
Presentation Dossier at Showroom Pabillion of National Center of Arts and Cultures, Cha.Aco Fair. Chile.


ARTWORKS IN PUBLIC COLLECTIONS
2020   

UNFINISHED STRUCTURE FOR A NO CONCLUSIVE PROCESS (2017)
Art Collection of Ministery of culture and arts. Chile.
SPECULAR  -Big Mirror-  (2017)
450 mirror-polished coper plates (2mm), and black rubber support. Dimensions 4,5 x 5,3 mts. 
https://www.youtube.com/watch?v=69BzIKvpSGk
RESIDUAL EFFECTS: Video Instalation: video 1, Panoramic view of Mineral el Teniente; Video 2 Invertir la Pirámide; Video  3, Reconstitution.
Materia Prima Project. FONDART (R) 2017
Art Collection of Gabriela Mistral Gallery. Chile.

2018

ESPECIES ALIENS. Escultura de resina, fibra de vidrio, nitrato, tierra y secuoya. 50 x50 x 300 cm; documentos de archivo, carta de Harry Guggnehiem. Galería Gabriela Mistral. Ministerio de las Culturas y las Artes.
N.N (Nilan Nivelic). Video animación digital. FHD 1920 x 1080. Colección de arte contemporáneo
Art Collection of Gabriela Mistral Gallery. Chile.

2013
EL ENAMORADO LANZADOR DE LADRILLOS: UNA ARQUEOLOGÍA DEL PRESENTE.
Fundazioa BilbaoArte Collection and city council of Bilbao, Spain.


CATALOGUES AND PUBLICATIONS
2023
Catalogue White Lands. Manzana Uno art space. Santa cruz de la Sierra. Bolivia.
2022
Catalogue Mining Data exhibition. Contemporary art museum. Chile.
2021
Catalogue “El poder de las rocas”. Ignacio Helmke and Jose Ulloa Acosta. Ministry of culture and arts. Chile.
2019   
Book ''El Tema es la Materia". Lecturas Ediciones and Subsecretaria de las Culturas y las Artes. Chile.
2018  
Catalogue “La Fundación”, Galería Gabriela Mistral. Ministry of culture and arts. Chile.
2017  
Catalogue “Chile Limita al Centro”, Traslado Program of National center of art and culture. Chile.
2016  
Catalogue “Biblioteca Audiovisual”. Mercado del Arte contemporary art fair. Córdoba. Argentina.
2014  
Triptych exhibition “El negro, un problema de memoria”. School of arts Universidad Mayor. Chile
2013   
Catalogue “Puertas Abiertas” artist residents of Fundazioa Bilbaoarte. Bilbao, Spain.
Catalogue “Project Berlin: Not Only”. Factory art Gallery. Berlin, Germany.

2012   
Catalogue “Showroom CNCA at Ch.ACO fair”. National center of art and culture. Chile
Catalogue “Blamaceda Young Art”.  Balmaceda Arte Joven and Museum of contemporary art. Chile.

2011   
Book “The Art of History of Fernando Sánchez Castillo”. School of arts Universidad de Chile.
Catalogue "Puentes, Caminos en el agua", Museum of contemporary art  MAC. The Ministry of Foreign Affairs, European Union and Cooperation Spain. Chile
Triptych exhibition "Built the Ruin". School of arts Pontificia Universidad Católica de Chile.

2007  
Triptych exhibition "Salón de los estudiantes", School of Arts Universidad Metropolitana de Ciencia de la Educación. Chile.

2005   
Triptych exhibition "Salón de los estudiantes", School of Arts Universidad Metropolitana de Ciencia de la Educación. Chile


WORKSHOPS & ENCOUNTER, TALKS
2023
La nochde de las ideas,  Qué esconde la IA?. Centro cultural palacio de la moneda. Instituto Frances de Chile.
2019   
Talks whit Schools and community of Coya, Rancagua and Pichilemu.  Metal Economies vol.1, 2 ,3. Community Museum of Coya; Historical and Regional        Museum of Rancagua ; Agustín Ross Cultural Center Pichilemu. Ohiggins Region. Chile.

2018   
Talks about La Fundación Project. Art student at Pontificia Universidad Católica and Universidad Finis Terrae. Gabriela Mistral Gallery of Contemporary Arts. Chile.

2017   
Sculpture Workshop about Raw Material Project for school students. Historical and Regional Museum of Rancagua. Chile.
Talks about Raw Material Project. Historical and Regional Museum of Rancagua. Chile.


ARTICLES AND INTERVIEWS
2022
https://mac.uchile.cl/wp-content/uploads/2022/09/EXH.2022.PF_.20.pdf
2018   
Review La Fundación. Relieve contemporaneo digital issues. http://relievecontemporaneo.com/la-fundacion/

La Fundación, o ¿cómo chile perdió la oportunidad de tener un museo Guggenheim?. 
Arte al Limite magazine Chile. November 06.
https://www.arteallimite.com/2018/11/06/la-fundacion-o-como-chile-perdio-la-oportunidad-de-tener-un-museo-guggenheim/
Review of La Fundación, at Arte al Limite magazine Chile.  16 october. 

2017   
Visual Artist bring us the 1981 copper worker strike. Interview at El Caballo Verde magazine Rancagua. Chile. Year 2. Nº11, June.

2015   
Review Mercado del arte at La Voz Newspaper. Cordoba. Argentina.

2014   
Review Young Promises of Arts at ARTES Y LETRAS El Mercurio Newspaper.  Chile.

2013   
Interview at Bilbaoarte web. Spain. https://vimeo.com/64156624

2011   
Poetics about ruins, article at Bio-Bio radio. 


WORK EXPERIENCE
2017-2024        
Professor Digital Image I. School of Arts Finis Terrae University. Chile.

2014-2016       
Professor 3D Laboratory. School of Arts Pontificia Universidad Católica de Chile.

2014-2023        
Designer & manager Patrimony Project at Ediciones UC. Pontificia Universidad Católica de Chile.                                                                           



MINING DATA
2022

CARTOGRAFÍA VISUAL
2022

HOJA MAC
2022





EL PODER DE LAS ROCAS
2020-2021

LA FUNDACION
2018




CATALOGUE BILBAO ARTE FUNDAZIO 2013








SELECTED WORKS







2022. White lands( Tierras Blancas). Video animation digital. Full HD and stereo sound. Time 3:00 minutes loop.
Collaboration Alvaro Muñoz.


This video simulates a monumental stone sculpture with portrait linkage to Guggenheim Family, who through their multinational companies were the promoters of the large-scale copper and nitrates mining in Chile and worldwide. This artwork uses humor and irony to articulate a critic around the philanthropic figures of the 20th century, who after exploiting the territories of the third world, turned part of their resources to patronage activities in the arts.


2022. Remote Archive.  14 documents printed on metacrilate surfaces, metallic support and metallics figures copper plating. 540 x  67 cms. Collaboration: Archivo Histórico de Coya. www.archivohistorico.cl Ubicación: American camp of Coya Mineral El Teniente CODELCO. Machalí. Chile.

This archive are a series of unpublished communication documents (memos and letters), those reveal the political and economic influences of Guggenheim Brothers Co. with Chilean politic structure and chilean state.





2022. Metadata I. UV map (digital textures), printed on transparent acetate. Dimensions: 67 x 100 cm.


2022. Dome Guggenheim. Sculpture in steel sheets and copper plating. Dimensions 75x 75 x 25 cm. Dome model of S.R. Guggenheim foundation museum building in New York.



2022. Red is the color of creation. Red polychrome wooden sculpture and archival documents printed on transparent acetate. Sculpture dimensions 193 x 150 x 80 cm.

Archival Documents, enlargement and digital Copy of Guggenheim Museum project sketch by F. Lloyd Wright, September 1943 (The museum of modern art Avery Architectural & Fine arts Library, Columbia University, New York); Political Situation, report of the El Teniente Mine plant controller, Sewell, 1931.




2021. White lands II.  (HARRY, SALOMON AND PEGGY GUGGENHEIM PORTRAITS), FROM THE NON.MONUMENTS SERIE. Digital render  printed on photo rag metallic Hahnemühle 340 g paper. Size 85 x 55 cms.

The Non.monument serie are renders printed on metallic paper and modelated by computer. Those 3d digital models are character sculpture simulation of Guggenheim family linked with art foundations and the copper bussines empire, periode of the industrial colonialism in southamerica in twenty century. 





2021. Series NON. MONUMENTS. Digital models rendered and printed on photo rag metallic Hahnemühle 340 g paper.

Computer modeled images simulating ruins of portrait sculptures of Harry Frank, Salomon Robert and Marguerite "Peggy" Guggenheim.







Peñascazo (2021)
Three screen monitors (55”, 50” and 40”).  Full HD video and digital animated model of Los Pelambres mining copper.






2021. MAU (El Mauro). Pulished steel structure, copper plates and steel clamps. Size 200 x 100 x 300 cms. Feat Ignacion Helmke.
Featuring Ignacio Helmke.

Modular sculpture that present a serie of empty boxes, that on its copper plates surfaces are etched precolombus petroglyphs missed in El mauro area, devastated by Los pelambres mining company.


Public art collection of Coquimbo council city, Chile.


      

2021. Peñazco 1 (MLP 1). Copper sculpture of Pelambres mining of Chile. Size 10x 6,5 x 4 cms.

A copper smelted model sculpture of Minera Los Pelambres or MLP is created in order to raise up the imaginary of  the most high rated copper mine in southamerica.



2021. Peñazco 2 (MLP 2). Copper sculpture of Pelambres mining of Chile. Size 15x 11 x 6 cms.

A copper smelted model sculpture of Minera Los Pelambres or MLP is created in order to raise up the imaginary of  the most high rated copper mine in southamerica.


2021. Peñazco 3 (MLP 3). Copper sculpture of Pelambres mining of Chile. Size 17x 14 x 10 cms.

A copper smelted model sculpture of Minera Los Pelambres or MLP is created in order to raise up the imaginary of  the most high rated copper mine in southamerica.






2021. ECOSYSTEM ​(Critical zone). Steel, imanes and electroplating copper texts of public and private institutional organizations. Size 70 x 40 cms.

Conceptual map that exposes the private interests of Los pelambres mining company and its links with the state apparatus, from the archaeological conflict of El Mauro, expanded to social, economic, environmental and patrimonial stages.








2023.  Fosil Future ( Staggered hill).
Photomerge of five images printed on paper Metallic paper 360g Hannemulle .  Size 235 x 65 cms. Serie of 3 copies.

Photograph that records the artificial hill created by industrial mining for decantation of copper sulfates in the north of Chile, whose wide dimensions redefine the natural environment of the pampa in the Atacama desert.







2019. TRANSFERENCES -conical concentrates- .

Video color 4k which registrate stories by Jose Ulloa Perez about growing up in the Caletones company town  (Sewell, El Teniente Mineral the largest subterrain mine in the world).  Join to his son, Jose Ulloa Acosta , they builts a serie of sculptures in wire copper from a historical file of industrial  copper extraction base in Chile (1927).







E.T  serie I, II (2019)
Cooper metal;photgraphy and  files document of ancient art and architecture.







Fórmula G (2018) Copper Galvanoplastic, NB Butilo, steel wire;
File document  (COYA DIBAM Library, Machalí, Chile). Size 70 x0 x 1 cm.
(private collection)
































2018. MELTED TOWNS.
Series of four objects made of NB Butyl  (Rubber); and polished copper tubular structure. Size 450 x 130x 45 cm.

This work is shown as a series of pieces hanging from a structure of tubular copper profiles, on it a serie of bidimensional works made in black butyl rubber which is used to protect the earth from seepage of chemical waste produced in large-scale mining. The cut-out urban grids shown the density of housing in the company towns of Sewell, Chuquicamata, María Elena and Pedro de Valdivia. The gravity deforms the material and deconfigured the grid establishing an analogy with the loss of memory of these sites.

















2018. SPECIES ALIEN. Portrait of Harry F. Guggenheim and Salomón R. Guggenheim. Resin, fiberglass and processed nitrate, sequoia pine tree and soil with leaves; Harry Guggenheim Letter to chilean president Carlos Ibañez del Campo 1953. Sizes 3,5 x 0.60x 0.60 mts.

(public collection of Gabriela Mistral gallery)





2019. ARCHEOLOGICAL PROSPECTING. Copper plates cutting on CNC láser (2mm), copper wire, copper pipe. Size 3 x 1,5 mts. 2018

Movil  made from archaeological objects from archive and museums found in mining sites of Chuquicamata, El Teniente, María Elena and Pedro de Valdivia. The most important deposits of copper and nitrates in Chile.






2018. THE GUGGENHEIM WERE HERE . Chug-Chug, Geogliph intervention near to Chuquicamata Mine. II Región, Chile.
Pangal,  aqueduct building in 1917 for Braden Cooper Co for Teniente Mine. VI Región, Chile. María Elena, intervention in structure industry of nitrate. II Región, Chile. Lasana, intervention on rocks in ancient fortress pucará de Lasana. II Región, Chile.

Photografhy serie between conflict patrimonial areas with mining industry on nitrate and cooper linked with historical Guggenheim brothers company in Chile.
Ink on Hahnemühle  paper photografhy. Size 







2017. SPECULAR  -Big Mirror-  . 450 mirror-polished coper plates (2mm), and black rubber support. Dimensions 4,5 x 5,3 mts.

Floor sculpture thats is builded 450 copper pulished plates with the size of a brick, those are distributed on the floor producing an irregular geometric shape that articulates as a reflective surface. Specular is created from a street register (mapping a ruins), from the artistic intervention on public space Invertir la Pirámide.

This work is a milestone for memory that Raw material project is about it.

RAW MATERIAL Project. FONDART (R) 2017

(public collection Gabriela Mistral gallery))








2017. Mapping
a Ruin. 
Metacrilat box and  photofraphy Ink on cotton paper 260 g. Size 65 x 50 cm.



2014-2017. Residual Effect. Video installation:

Left. View of  El Teniente, mine and industrial complex. https://www.youtube.com/watch?v=BmQitIV-khU ;

Centro. Riverse the Pyramid.   https://www.youtube.com/watch?v=bBHY0uBtEAA ;

Right. Video report  2 (maternal), Reconstitution. https://www.youtube.com/watch?v=VrTodJQ87SA.






2017. UNFINISHED STRUCTURE FOR A NO CONCLUSIVE PROCESS.
Copper pipes 1 1/4“ y 3/4”, copper fitting and fixing screw.

(Public and national collections of contemporary art Ministry of cultures Chile)