pain, of dying, all of which we have in our
lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
Can you relate anyhow to these words?
Yes of course. Certainly that phrase has to do with what came narrating in the previous point. The fact of the mirror and to be recognized in the other and from the other. The human being is born from a mother (and father) and therefore requires care that makes it dependent on this “other", without this other being, the baby might not live. Last year Marina came to the 1st Biennial of performance held in Buenos Aires. She
read a manifesto, which I found totally contrary to my way of seeing art and the current position of the "artist" in society. Therefore, there is no right or one only way to do it, I do not feel identified in manifestos that are traditional, but I respect them and consider themselves as an important study and historiographical material. The artist Marina Abramovic deserves all my respect, because she has set a precedent in performance and in art history, I consider that currently it can not be ignore what it means her figure in the art market, and therefore its legacy. The "monumentality" implied today that involves the stamp of an artist like M. Abramovic, these days tells me more about the forces that govern the world, enriching the rich and impoverishing the poor.
Your approach constantly tests several viewpoints to reveal an incessant search of human condition: revealing its social identity but also in the attempt of tearing off the artificial masks, created by culture. While walking our readers through your process , we would like to ask you
where do you place your artworks: as a political statement, bringing back the political voice to groups that are being not heard, manifest, a sparkle that aims at being the beginning of a revolution? What are the most important political issues you would like to confront your spectators with?
I want to think that it is possible to make a revolution in the arts and from the arts. I think that politics are implicit in arts, bringing people together around a proposal/ concern that can be considered as a civic act. I think on reflection about art without disassociating social processes, thinking from the current micropolitical action carried out by those who believe in the grains of sand, little by little... before dedicating my work to the art itself, I am a person and a citizen, as you well say, with an identity settling and in process, which is one of the fundamental reasons why we are social beings. We relate with the other, and from the other we recognize us. The way I propose to relate with the other would be in the first instance, from its subjectivity. If people know or not the cause of Kurdish women, can watch and listen to the story. Many of the images are inverted and this has a reason explained at the beginning, are just realizing the colonization process in Latin America suffered from a history (waman Puma) and reinterpreted by S. Rivera (Bolivia).
Your works are strictly connected to the chance of establishing a deep involvement with your audience, both on the intellectual, emotional and – I dare to say – physical level. I would like to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process? In particular, how much do you consider the immersive nature of the viewing experience? How important is for you the feedback from the receivers of your artworks?
The point of the spectators and people entering through the work is important.
According to my understanding, it can be encoded as the "the second part". Now, I
want to work the audiovisual field by the fact that it can spread or disseminate,
accessing to various audiences simultaneously (via Internet). I think this way is positioned a little more horizontally in "art" and its various guidelines.
Thanks a lot for your time and for sharing your thoughts, Claudia. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
I really do not know. Certainly I have projects but it is really difficult to develop them. Always is difficult. This year I plan to do my thesis that will be a work in crossing
languages, involving sound design, image, video, performance and installation in a space that I have not yet defined. At the same time I participate in various areas of organization involving arts direct and indirectly, its visuality and confluences. I'm interested in the issue of transfer and artistic pedagogy from community and participatory bodies in different instances.
Your approach constantly tests several viewpoints to reveal an incessant search of human
condition: revealing its social identity but also in the attempt of tearing off the artificial masks,
created by culture. While walking our readers through your process , we would like to ask you
where do you place your artworks: as a political statement, bringing back the political voice
to groups that are being not heard, manifest, a sparkle that aims at being the beginning of
a revolution? What are the most important political issues you would like to confront your
spectators with?
of course. The human mobility is inside the aesthetics which is part of his life structure. Being fortunately, the bearer of human difference, it is also his own subjectivity which determines who is and how it identifies with the rest, this would be considered if we wish, as part of its aesthetics. In culture and art workers the same thing happens being a general rule. Applies for every human being.
I believe that my identity has changed as the years pass. Ive been living outside my country for five years, also impacting culturally in what I do. The searches changed constantly. We become in finding ourselves and our attention is stated to be in the place of our happiness. The issue is where we want to focus our attention and what we want to do. We are doing what we like? Or perhaps, Are we forced to follow a system that constantly oppresses us? Certainly, times are complicated and difficult in all the world... particularly in Latin America things are getting worse and slowly we are drawn to follow a model that does not identifies us, but however is the one we chose “democratically". I wonder ... Does “Democracy" exist? Clearly the electoral system is neither efficient and nor representative, but it is all we have ... and about art... there is nothing to discuss... not an issue to consider for a system of these conditions. Does not exist, it is not of interest for society, the word "profitable" is explicit when being validated any of its manifestations. There is a story of the Uruguayan writer Eduardo Galeano in which tells the story of the chickens and the cook, where they are asked with what sauce they want to be cooked; and chickens responded -We don't want to die! - Making an analogy to the global system and in what we are constantly forced to do, from our educational practice to our daily acts, transforming us in the product of what society wants us to be.
Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?
I was born in Chile during the military dictatorship of Pinochet in 1980. My parents and my history inevitably was linked to that history, what it was and what it means today. I have been living for five years in Argentina because I find it impossible to do so in Chile, even more, working from culture and arts. In the country where I was born education still remains lucrative and profitable, so its impossible for me to have access (and for most people who want a career). The Immigration laws and social policies in this regard are much more developed in Argentina than in other countries, and being Latin American, takes part of my main interest for migrate towards him. The fact of having the possibility to an artistic education also says a lot about a family history because it was through my parents and by the cognitive learning they gave me, that I could finish my undergraduate studies. I personally think that studying in the academy is not necessary in all cases, mainly because the decision and subjectivity of each one are always different. Art is an example of this, being at the end, the results that are forged as you want and prefer.
Concluding with this, that having no access and no right to decide what to do with
your life, can make us finally take a huge wrong decision. There is one life, your life.
The state nor the church can interfere in your decisions.
Today I developed a research project that has to do with gender studies in relation to
Latin American performance in resistance. I find myself doing the master's thesis
performed in combined artistic languages (LAC), in the National University of Arts
(UNA) and participate from this year in PAPO, Art and Politics in LPEP La Paternal
Espacio Proyecto, both in the city of Buenos Aires, Argentina.
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