Fourteen Chilean artists

(March 7 – April 3, 2014)

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Amelia Errázuriz. Survival in Negative
Video and music in oil and canvas. 2014. 190 x 128 cm. respectively.
Amelia Errázuriz. Survival in Negative Alicia Larraín. C-Crazy Angela Wilson. Horacio and Willy Catalina Mena. Butterflies of Chile Catalina Pardo Hernán Gana. Urban Identity Lorenzo Moya. At the Bottom of This Lake María Elena Covarrubias. Introspection

The exhibition of fourteen Chilean artists at Galería Enlace proposes and links a variety of ideas that signify and assume resistance and survival in art and in life. Survival is the conservation of life following a difficult situation or significant moment, and this exhibition was born from a special moment in art in which the boundaries of creation were expanded, rocketing into unheard-of territories. The survival of painting is alluded to by Hernán Gana, Catalina Prado, and Lorenzo Moya. In their passion for their trade, they invite us to walk down paths of which our gazes were perhaps previously unaware. Human beings’ survival in the works of Catalina Mena introduces us to the quotidian, to daily domestic violence. Eugenia Vargas addresses the woman-object in artificial situations, while Ángela Wilson recounts those who have disappeared, offering an exaltation of memory. The vastness of nature is taken up by four artists: Alicia Larraín, in the region of El Maule, where her testimony of desolation takes on a beautiful air; Mauro Boscarín, photographing the disasters of the earthquake, seeking adventure and playfulness in that space, and restoring order from chaos. Meanwhile, on the experimental side of things, Amelia Errázuriz takes inspiration from deterioration and disorder, painting images with her brush and using a video-painting and stills to offer up movements full of mystery. Rodrigo Bruna, on the other hand, draws and uses earth to reconstitute his memories and lost stories using archival materials. The support media are the point of departure in the works of four more artists, who create pieces drawn with words, situations of impressive visual content such as the homage to Cesar Vallejo, made from marble by Hilda de Rochna, where modules transform into sequences, alluding to the cadences of the written word. Consuelo Lewin opts for the fragility of cardboard to honor the poet Rainer María Rilke in her work. Marcela Krause, using the unusual medium of plastic, recalls Japanese poetry with a restricted use of color; while Elena Covarrubias expresses her creativity through re-collage, a technique that reelaborates the collage in elliptical forms.