tag:blogger.com,1999:blog-7527594832233792622024-02-07T05:05:45.921-08:00El milagro chilenoA project of Marisa Cornejo about the memory of the "Chilean Miracle"Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-752759483223379262.post-47107775886734551712018-09-11T07:55:00.000-07:002018-09-11T07:57:33.053-07:00obras gráficas de Eugenio Cornejo<div class="separator" style="clear: both; text-align: center;">
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<br />Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-56726787868411973932012-11-14T08:49:00.001-08:002013-04-10T09:57:26.623-07:00Feedback<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: x-small;">A letter from the artist Thomas Hirschhorn, 2012.</span></span>Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-55592294893965943312012-02-15T08:26:00.000-08:002013-12-31T09:16:58.350-08:00Karol Cariola, Camila Vallejo y Jorge Murúa with the book GENERAL<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4aSDyyhuy2Z-3JH8w3kUkyqxFCsxNGK8g1dKQxF64Bgepcu07kqCU3QYCz5B3vB7x6-pIBgMTh9VZsGwFvNeNmis8DqZwOnrUubP6Ig4VZwSsBgNuw1lBE85A31a8t8RnMwk2hn5qOM/s1600/camila+vallejos%252Ckarem+cariola%252Cjorge+murua%252C+con+libro.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="512" id="BLOGGER_PHOTO_ID_5709399786274008530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4aSDyyhuy2Z-3JH8w3kUkyqxFCsxNGK8g1dKQxF64Bgepcu07kqCU3QYCz5B3vB7x6-pIBgMTh9VZsGwFvNeNmis8DqZwOnrUubP6Ig4VZwSsBgNuw1lBE85A31a8t8RnMwk2hn5qOM/s640/camila+vallejos%252Ckarem+cariola%252Cjorge+murua%252C+con+libro.jpg" style="height: 320px; width: 400px;" width="640" /></a><br />
<span style="font-size: 85%;"><span style="font-family: courier new;">Geneva, friday 12 of february 2012 with Karol Cariola, Camila Vallejo and Jorge Murúa with the book GENERAL:</span></span><br />
<a href="http://www.artfiction.ch/magasin-92.php?1241166338"><span style="font-family: courier new;">http://www.artfiction.ch/magasin-92.php?</span></a><br />
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<span style="font-family: courier new;"><span style="font-family: courier new;">2 years later</span> </span><br />
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<span style="font-family: courier new;"> </span>Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-10502908658111043292012-02-15T07:57:00.004-08:002013-04-10T06:26:13.537-07:00Lanzamiento del libro GENERAL en Galería Metropolitana<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP9J8yjts-nkTfqEG2zbPmWbadGkCi2bRzuzP8itbHHlAf9iVQtrBsGGTMobSE5jjpRzXoldmYXxrp1oIHD2ssa_qW5rQzyZYCWtc72wnxFCMxibUXkwjGD4Efa5W91p0qQneEpqsBfbc/s1600/P1010652.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5709395987770310786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP9J8yjts-nkTfqEG2zbPmWbadGkCi2bRzuzP8itbHHlAf9iVQtrBsGGTMobSE5jjpRzXoldmYXxrp1oIHD2ssa_qW5rQzyZYCWtc72wnxFCMxibUXkwjGD4Efa5W91p0qQneEpqsBfbc/s400/P1010652.JPG" style="cursor: hand; cursor: pointer; height: 225px; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKs0Qj3Myk_IXcdcOx5pyMw3n1vPufdxtcSVJy3Jm1IVvvv8i0isRpaOqj5dCMKclCAhxSR-vRApMHPUCUCQKul6F150kJI3q6rr0hYiZdCFODsO1KsE9JnFs4lA7Wy8KcuN57eLH6V8/s1600/DSC_2457.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5709395096749279650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKs0Qj3Myk_IXcdcOx5pyMw3n1vPufdxtcSVJy3Jm1IVvvv8i0isRpaOqj5dCMKclCAhxSR-vRApMHPUCUCQKul6F150kJI3q6rr0hYiZdCFODsO1KsE9JnFs4lA7Wy8KcuN57eLH6V8/s400/DSC_2457.jpg" style="height: 268px; width: 400px;" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tm6GLOPtBA9EQZy_uT54N-zYpPz6Iaump9rmBYmHAKdFq-qeq9wPanQU7EKIW1Krrw8jwKDZEqu-Bpshaq4oC0WnZ8RH3GxSPKYL5mq_u4ErrWjVXdu0KdqHiIQawy5TZrADb1HjeMM/s1600/DSC_2514.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5709395734231696194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tm6GLOPtBA9EQZy_uT54N-zYpPz6Iaump9rmBYmHAKdFq-qeq9wPanQU7EKIW1Krrw8jwKDZEqu-Bpshaq4oC0WnZ8RH3GxSPKYL5mq_u4ErrWjVXdu0KdqHiIQawy5TZrADb1HjeMM/s400/DSC_2514.jpg" style="cursor: hand; cursor: pointer; height: 400px; width: 268px;" /></a><br />
<span style="font-size: 85%;"><span style="font-family: courier new;">Santiago, 18 de enero 2012.</span></span><br />
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Con la participación de Luis Alberto Arraño, Ana María Saavedra y Marisa Cornejo.</div>
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<span style="font-family: "Courier New",Courier,monospace;">Link del libro:</span><br />
<a href="http://www.artfiction.ch/magasin-92.php?1227866846">http://www.artfiction.ch/magasin-92.php?1227866846</a>Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-20233934459543994192010-10-07T05:33:00.001-07:002012-04-27T17:05:25.372-07:00Extracto del libro GENERAL<div>
<span class="Apple-style-span" style="font-size: 15.84px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Q-fHTvPDStj82ZnWV7E0bo6zA-2UJpmSBUjd8Bx6uBYmeg2JnsBQoUPDeIhYmsL4NM7Ucpmx_UX1uvRHkkV6E9709CU0x7WpS2cZIHzM03W9u5LjzO86XG3VBcLbteCsVCXzdHpF6Wo/s1600/einstein.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5525281493154937154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Q-fHTvPDStj82ZnWV7E0bo6zA-2UJpmSBUjd8Bx6uBYmeg2JnsBQoUPDeIhYmsL4NM7Ucpmx_UX1uvRHkkV6E9709CU0x7WpS2cZIHzM03W9u5LjzO86XG3VBcLbteCsVCXzdHpF6Wo/s400/einstein.JPG" style="cursor: pointer; height: 300px; width: 400px;" /></a></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;">Frase pegada en el muro de la pared de</span></span><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"> la Casa de la Memoria Sola Sierra, </span></span></span><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;">sede de </span></span></span><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;">la Agrupación de Familiares de Detenidos Desaparecidos,</span></span></span><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"> donde conocí y entrevisté a Alicia Juica,</span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;">esposa de un detenido desaparecido. Alicia me prestó esta imagen para la exposición. Es la última foto de la familia completa de vacaciones.</span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXTNGcPVztwdEOj9OLbrRtLhmB03nReXF-cGeplsw-jJUZZKO_YEoVwlYmacdBDi362vHFgJGcNJvpymXn1NTVx07o2ZWmqwVLuNGiHudEoOzidz75CStnRIfTb0BHcUUmhJ2Ihwfo13I/s1600/Alicia1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5525282447070221986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXTNGcPVztwdEOj9OLbrRtLhmB03nReXF-cGeplsw-jJUZZKO_YEoVwlYmacdBDi362vHFgJGcNJvpymXn1NTVx07o2ZWmqwVLuNGiHudEoOzidz75CStnRIfTb0BHcUUmhJ2Ihwfo13I/s400/Alicia1.jpg" style="cursor: pointer; height: 400px; width: 258px;" /></a></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-size: 15.84px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRj8Sgt30YRBx7gKJR0as0sx9PIIurWtsyNBuT468aum-g84x9nWG7d8IzgytIrOXTflF-wxj04qTREqLXB7Aidl-g76ZZJKoalTO7S9cWUFcw1SRMOG7fgbEji8ZyNDh1J9fEQ30kxmQ/s1600/Alicia+Juica+int.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5525286989870543602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRj8Sgt30YRBx7gKJR0as0sx9PIIurWtsyNBuT468aum-g84x9nWG7d8IzgytIrOXTflF-wxj04qTREqLXB7Aidl-g76ZZJKoalTO7S9cWUFcw1SRMOG7fgbEji8ZyNDh1J9fEQ30kxmQ/s400/Alicia+Juica+int.jpg" style="cursor: pointer; height: 400px; width: 298px;" /></a></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';">Alicia me trató tan bien, una mujer buena y hermosa.</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';">Estuvo tan abierta a hablar, a reflexionar. Mientras la retraté fuimos una mente, nos comunicamos sin miedo, en armonía, es lo que recuerdo. Sus ideas resonaban en las mías.</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';">Alicia me habló y recordó la fuerza de las madres, de ese amor que nos une a todo lo vivo, de esa fuerza que nos habita aun cuando todo nos parece injusto e inútil. También habló de mi generación, de lo que nosotros tenemos que hacer: no olvidar y recordarlas a ellas a las primeras buscadoras. Recordar su valentía y su amor, pues fue el amor el que las guío para seguir buscando, para no detenerse ante los inmensos obstáculos,las barreras políticas y sociales, a ellas las guío el amor a un ser querido y eso las convirtió en líderes de la batalla para seguir siendo madres, mujeres y ahora abuelas,capaces de acojer las causas más pérdidas, esas que nos llevan a volar,las que nos dan un propósito más allá de este mundo material.</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';">Curiosamente no le gustó mi retrato , y en el fondo lo comprendo, su apariencia es lo de menos y por eso es que el retrato para mi es una excusa, una excusa para acercarme a un otro y que no me tenga miedo. Es una forma de decirle, te quiero hacer bello, no te tengo miedo, no te quiero hacer daño, te quiero conocer...</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 15.84px;"><span class="Apple-style-span" style="font-family: 'courier new';">Varios días después una vez terminada la exposición fui a la Villa Grimaldi, a la presentación de un libro. Y ahí en el memorial encontré el nombre de su marido, que diferente fue descubrirlo después de haber estado con ella, el nombre tenía profundidad, había alguien humano y amado detrás, alguien sencillo, accesible a todos, un hombre.</span></span></span></span></span></div>
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</div>Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-14515470143807634102010-01-31T02:08:00.000-08:002013-04-21T10:43:54.649-07:00Exposición El Milagro Chileno<div class="tr_bq" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">
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<span style="font-size: small;"><b>GALERÍA METROPOLITANA presenta:</b> <br />EL MILAGRO CHILENO, un proyecto de MARISA CORNEJO<br />GALERIA METROPOLITANA continúa su programa curatorial 2009, CHILE-VISIÓN, una reflexión sobre Chile contemporáneo, a partir de una serie de proyectos que conectan reflexiva y/o críticamente con este eje temático. <br />EL MILAGRO CHILENO instala un llamado de atención acerca de la realidad que viven cotidianamente los chilenos (derechos básicos irresueltos y deterioro social), mostrando el esfuerzo diario de sobrevivencia al interior del modelo económico de libre mercado, instaurado por la fuerza desde mediados de los años 70.<br />EL MILAGRO CHILENO es una recopilación de documentos, tales como: cartas de despido, facturas médicas y educacionales, cobranzas judiciales, solicitudes denegadas, pasaportes marcados, etc. que evidencian el precio del milagro chileno, como política que se extiende hasta el día de hoy. <br />EL MILAGRO CHILENO es una instalación que contiene ese conjunto de documentos, una serie de dibujos en forma de ex-voto de las personas que los han aportado y un video con historias personales, que se suman para construir una suerte de archivo local de la memoria.<br />EL MILAGRO CHILENO es también una reflexión sobre el desarraigo, que centra la mirada en temas tales como: la exoneración, la cárcel, la migración forzada y el exilio, a la vez que un ejercicio de memoria colectiva no institucional que se basa fundamentalmente en testimonios de vida. <br />GALERÍA METROPOLITANA<br />Félix Mendelssohn 2941, Pedro Aguirre Cerda, Santiago · Fono/Fax (56-2) 563 05 06<br />HYPERLINK "http://www.galeriametropolitana.org" www.galeriametropolitana.org HYPERLINK "mailto:metropolitana@mail.com" \t "_blank" metropolitana@mail.com <br /><b>El milagro Chileno: un país partido en dos<br />Luz Muñoz</b><br />Marisa Cornejo nos convoca en su proyecto El Milagro Chileno, a un recorrido por el Chile de estos últimos 40 años, una cita con la historia reciente, la memoria, y el presente de un país marcado por la dictadura militar y la instauración brutal del sistema económico neoliberal. (1)<br />En un juego linguístico, la artista utiliza la metáfora del “Milagro Chileno”, para preguntar a la gente, cuál ha sido el costo personal que ellos han pagado por este “milagro”; va recogiendo testimonios, en diferentes puntos geográficos y contextos del Chile de hoy, viajando a los territorios mapuches en el sur y recorre Santiago para hablar con hombres y mujeres que han sido marginalizados de la historia oficial. En este viaje va descubriendo capas, e introduciéndose en la historia y la memoria del otro. Ella por su lado va dibujando y registrando los relatos, va retratando a aquellos que le hablan, construyendo un paisaje de rostros y de voces, de personajes anónimos, que se van develando en este proceso.<br />En este contexto, la artista nos invita a transitar por un laberinto de microhistorias, que van cobrando vida e identidades, reconstituyendo escenas que se van hilando a partir de los documentos, fotografías, e historias orales, en ellas se van relatando, la sobrevivencia diaria, la desigualdad social, la desaparición, el exilio, la migración forzada, el desamparo del individualismo. Es la capa invisible, lo que no se quiere ver, de lo que se oculta tras las auspiciosas cifras de la macroeconomia, de un país partido en dos.<br />La metáfora del archivo<br /> A Marisa Cornejo le interesa recoger esa memoria dispersa, para invitarnos a reflexionar sobre aquello que va quedando bajo el manto del exitismo. Introduciendo en su trabajo la metáfora del archivo, ella va construyendo un diálogo íntimo, entre el que retrata y el retratado, donde se entrecruzan y develan historias de vida, que la artista pone en circulación como una estrategia de no olvido, creando un relato que releva escenarios invisibles de la historia “oficial”.<br />El archivo, se fue construyendo con el documento, la fotografía familiar y las facturas de pago de servicios públicos tales como de salud y educación, cobrando igual relevancia, que los retratos individuales. <br />El proyecto consistió en una obra instalativa conformada por estructuras cilíndricas iluminadas, cubiertas por los numerosos documentos y fotografías, que representan el obvio costo del milagro. Los testimonios registrados se escuchaban a través de un televisor que proyectaba imágenes al azar del show de la televisión chilena en directo, haciendo las veces de cuerpo disonante entre lo que se dice, lo que se escucha y lo que se ve.<br />El emplazamiento<br /> El proyecto se expuso en la Galería Metropolitana, esta galería se encuentra inserta en la comuna de Pedro Aguirre Cerda, comuna periférica del centro de Santiago, un espacio que alienta la participación a las manisfestaciones de arte contemporáneo, de un sector social que generalmente está marginado.(2)<br />(1)A finales de los 70, el país se convirtió en el conejillo de indias, de lo que fue la implantación de la política económica liberal en latinoamerica, a este lo siguió Brasil, Argentina y Uruguay, entre otros. El sistema fue implementado por los economistas chilenos, discípulos de Milton Friedman, llamados “Chicagos Boys”, durante la primera etapa de la dictadura militar. Los resultados de este “milagro chileno”, al año 1988, fue que el 45% de la población había caído por bajo el umbral de la pobreza, el 10% mas rico del país había visto doblar sus ingresos, siendo Chile hoy día, una de las sociedades menos igualitarias del mundo. (Fuente “La doctrina del shock”, Naomi Klein)<br />(2) Galería Metropolitana <br />www.galeriametropolitana.org/<br /><b>MI VIAJE A CHILE <br />Marisa Cornejo</b> <br />Se nos vende un paraíso turístico, sin poder participar en su diseño; el millón de chilenos que vivimos fuera de Chile no podemos ni votar. Nací en Chile en 1971, ahí viví sólo dos años pues salí con mi familia al exilio, después del golpe militar en 1973. Mi única nacionalidad es la chilena. Primero nos fuimos a Argentina en una mala época: 1973-75, y mis padres, por miedo a que los vecinos sospecharan que eran comunistas exiliados, dijeron que yo y mi hermano habíamos nacido en Argentina.<br />A partir de entonces, viví bajo el abrigo de la adaptación, a otras lenguas, a otras culturas, a otros intereses, tratando de calzar. Pasando por todo tipo de países: Bulgaria, en la era comunista; Bélgica y México. Ahora vivo en Ginebra, en los círculos internacionales, donde los apátridas somos normales y donde siempre me preguntan cuál es mi nacionalidad, pues hablo varias lenguas sin acento, y cuando digo “I am Chilean”, generalmente, las personas más cultas y educadas me dicen: “¡qué maravilla de país, es de los países que están mejor en América Latina, es el país modelo!”<br />Esta visión me ha hecho gastar muchas palabras tratando de explicar, cómo este milagro de país había pagado, y sigue pagando, un precio muy alto para mantener esta “Buena Imagen”. Esta explicación sucede en mi propio espíritu cuando cotidianamente trato de controlar y administrar la totalidad de mi ser para calzar a toda costa en el Mercado Internacional de los Apátridas. <br />En mi caso, este “desarrollo admirable de cosmopolitismo” ha sido el producto de una tragedia humana grave, en la que seres queridos sufrieron no sólo la tortura, el despido del trabajo y la expulsión de su país hasta la muerte, sino que además fueron marcados con la huella indeleble que deja el no recibir una reparación ni un reconocimiento de la gravedad de esos daños: era lo normal, “a otros los desaparecieron”...<br />Desde niña ví como se ponía bajo la alfombra este tema, para no “shockear” a las visitas, para no perder el empleo, para que no dejen de llegar los inversionistas... Pero yo vivía con “el bulto bajo la alfombra”, tropezando cada vez que quería ser “como los demás”, y sabía que contenía una bomba de emociones.<br />Durante años sentía necesario y a la vez temía sacar ese bulto a la luz, para poder transpasar a otros espacios los proyectos, los sueños y las posibilidades que quedaron enredadas ahí y no dejarlas reducidas a un número en las listas de informes.<br /> Entre noviembre y diciembre de 2009 tuve la posibilidad de ir a investigar en Chile para producir la instalación “El milagro chileno”. Para ello busqué con paciencia documentos que testimonian historias similares a las de mis seres queridos, historias de esas “de debajo de la alfombra” y conocí a las personas admirables que encarnan esos documentos. Con los documentos elaboré una instalación compuesta de columnas, como símbolo de los sacrificios “necesarios” para sostener la economía de Libre mercado “modelo”. Chile es el 5º productor de celulosa del mundo, a costa de los bosques nativos y de la forma de vida de algunos de nuestros pueblos originarios: los mapuches y huilliches. Paradójicamente, si yo vengo de Francia a trabajar a Chile, pienso que no es necesario traer buen papel de dibujo, sin embargo, me equivocaba: el buen papel de dibujo viene de Francia o de Italia, a precio de importación, para un grupo privilegiado de dibujantes.<br />A las personas que me prestaron sus documentos las retraté dibujándolas, mientras les entrevistaba, creando un espacio de diálogo en el tiempo del dibujo y el cual les era regalado, asi para dar algo a cambio de este difícil proceso. Durante ese diálogo contaba algo de mi testimonio y en mis entrevistados encontré la comprensión y, sobre todo, una explicación complementaria de los hechos. Cada uno de ellos había visto y recordado algo que yo no sabía, pero también de alguna manera yo contaba y descubría mis costos personales; así me enseñaban sus vidas tan anónimas como la mía, tan únicas, resonando con la mía. Este proceso fue doloroso pero sobre todo purificador, fue crear “Un Lugar Para Cada Uno” en esta Historia; me ayudó a dimensionar, a no desvalorizar, a habitar, a desplegar el bulto, pero no a solas.<br />Descubrí que el milagro chileno, no eran estos resultados económicos usados para contrastarlos con los de los países vecinos y “sentirnos superiores”, sino que eran estas personas, -a pesar del lavado de cerebro sistemático en cuyo perfeccionamiento los medios de comunicación chilenos han invertido años-, las que no han olvidado su pasado. Esta memoria histórica les ha permitido sobrevivir con dignidad y con una mirada crítica propia que les permite resistir desde sus comunidades.<br />Los Milagros<br />Cuando retraté a estas personas para construir el archivo metafórico del costo humano del milagro chileno, creé un espacio donde posar las dolorosas memorias que estos acontecimientos habían gravado en nuestra conciencia colectiva. Yo, siendo un espejo igualitario de estas historias, no siendo autoridad política, ni institución pública, ni juez, creé una marco-espacio-ventana donde el otro pudo dejar de justificarse y posar “su cruz”. Mi milagro fue que yo pude dimensionar mi pérdida y mi suerte de estar viva, gracias a la visión colectiva del dolor que este archivo constituyó. Pude también disfrutar de conocer a estos otros milagros y confesarles a estos otros mis testimonios, lo que sus historias me recordaban de la mía, para poder pasar a otra etapa, de crisálida a mariposa. Este catálogo está constituido de estas capas, que pueden ser observadas como los restos del proceso del viaje del alma.<br />He aquí los ingredientes que formaron la instalación del milagro chileno, donde se minimizan los derechos humanos para vanagloriar una economía que produce el papel higiénico más barato del mundo a costa de sus pueblos originarios, sus aguas y sus bosques.</span></blockquote>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="color: #1d1d1d; font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">GALERIA METROPOLITANA presents:</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="color: #1d1d1d; font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">THE CHILEAN MIRACLE a project by Marisa Cornejo</span><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;"> </span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">EL
MILAGRO CHILENO (THE CHILEAN MIRACLE) serves as a warning about the difficult
reality of contemporary Chilean life (lack of basic human rights and social
degradation), and demonstrates the daily struggle needed for survival in a free
market economy, forced on the society since the mid-seventies.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">EL MILAGRO CHILENO is a collection of documents from dismissal letters,
medical and educational bills, denied requests, to marked passports and
judicial charges, etc. All bear witness to the cost of the Chilean Miracle, a
policy that is still in place today. Apart from the documents, the installation
also includes a series of portraits of those who were interviewed for this
project and a video with personal stories, all of which come together to
construct a local memory archive. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">EL MILAGRO CHILENO is also a reflection on being uprooted, focusing on
such topics as: exoneration, prison, compulsory migration and exile; it is also
an exercise in creating a collective memory based mainly on live testimonies not
associated with any single institution. Galería Metropolitana, Ana María
Saavedra and Luis AlarcónSantiago, December 2009 </span><b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">The Chilean Miracle: A country split
down the middle Luz Muñoz </span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">English version translation by Scully
Beaver Lynch.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Marisa Cornejo summons us to her project: The Chilean Miracle, a journey
through the Chile of the last 40 years, a date with its recent history, the
memory, and with the reality of a country marked by the military dictatorship
and brutal establishment of the neoliberal economic system. (1)In a play on
words, the artist uses the metaphor “Chilean Miracle” to ask people what costs
they personally incurred for and during this “miracle;” she collected
testimonies in different geographical regions and contexts of Chile today; she
traveled to the Mapuche regions in the South, and in Santiago, she looked for
women and men who had been marginalized from the official story. This trip
allowed her to discover layers and enter the history and memory of others. And
she drew and registered their tales, she drew the faces of those who talked to
her, building up a landscape of images and voices, of anonymous characters that
come to light in this process. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">In this context, the artist invites us to follow a labyrinth of
micro-stories that come alive and reveal identities, reconstructing scenes that
spin together through documents, photographs, oral histories and that tell of
daily survival, social inequity, disappearances, exile, forced migration, the
neglect of individualism, the invisible layer often ignored and hidden by the favorable
macroeconomic statistics of a country split down the middle. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">The Archive as a
Metaphor </span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Marisa Cornejo is interested in working on assembling these
stories, in picking up lost memories, and in inviting us to reflect on what is
hidden beneath the success story. She introduces the metaphor of the archive in
her work, constructs an intimate dialogue between the artist and the sitter where
life stories cross and are unveiled. These stories are then put in circulation
as a strategy to prevent their being forgotten by creating a tale that reveals
invisible scenarios of the “official” story. The archive builds on documents,
family photographs, certificates, and health and education bills all of which
take on the same relevance as the individual portraits. The project consists of
an installation piece made up of illuminated cylindrical structures, covered
with the numerous documents and photographs that represent the obvious cost of
the miracle. The recorded testimonies</span><b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;"> </span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">can be heard on a television set to the
background of random images from the Chilean television, creating a discord
between what is said, what you hear and what you see. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">On-Site</span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">The
project is worked on-site and exhibited at the Metropolitan Gallery. This gallery
is situated in a neighborhood in the Pedro Aguirre Cerda community,in the center
of Santiago</span><b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">,</span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">an
exhibition space that encourages socially-marginalized people to participate in
contemporary art. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">(1) During the late 1970s, Chile became the guinea pig for the
implementation of liberal economic policies in Latin America.<span style="mso-spacerun: yes;"> </span>It was followed by Argentina, Brazil, and
Uruguay among others. The system was implemented by Chilean economists, known
as “Chicago Boys,” who were disciples of Milton Friedman, during the first
stages of the military dictatorship. The result of this “Chilean Miracle” was
that as of 1988, 45% of the population had fallen below the poverty line while
the 10% of the richest had doubled their income, making Chile today one of the
least equitable societies in the world (source: The Shock Doctrine, Naomi
Klein).(2) Metropolitan Gallery at: www.</span><b><span style="font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">galeriametropolitana</span></b><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">.org.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><span style="color: #1d1d1d; font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">MY TRAVEL TO CHILE</span></b><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><span style="color: #1d1d1d; font-family: "Courier New Bold"; font-size: 13.0pt; mso-bidi-font-family: "Courier New Bold"; mso-font-kerning: .5pt;">Marisa Cornejo</span></b><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">We are
sold a tourist paradise, without being able to participate in its design; the
million Chileans who live outside Chile are not even allowed to vote. I was
born in Chile in 1971. But, I only lived there for two years because my entire
family left after the military coup in 1973. My only nationality is Chilean. We
first went to Argentina at a bad time: 1973-75. My parents, afraid that our
neighbors would suspect that we were exiled Communists, said that my brother
and I had been born in Argentina.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Since then, I have lived under the shelter of adapting to other
languages, other cultures,other interests, trying to fit in. I have lived in
all kinds of countries: Bulgaria, in the Communist era; Belgium and Mexico. Now
I live in Geneva, in international circles where stateless people are the norme
and where I am always asked what my nationality is, because I speak several languages
without an accent.<span style="mso-spacerun: yes;"> </span>When I respond that
“I am Chilean,” the most cultured and educated usually say, “What a wonderful
country; it is one of the Latin American countries that are best off, the
model!” This view has made me spend many words trying to explain how this
miracle of a country has paid and continues to pay a very high price to
maintain its Good Image. This explanation goes on in my own soul when I daily
try to control and administer my whole being to fit at all costs into the
International Market of the Stateless.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">In my case, this “admirable development of cosmopolitanism” has been the
product of a very serious human tragedy, in which my loved ones have not only
suffered torture, layoffs from their jobs, and expulsion from their country
until their death, but they have also remained marked indelibly with the
imprint left by not receiving either reparation or recognition of the gravity
of these damages: it is normal, “others were disappeared...”</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Even as a child, I saw how this reality was shoved under the carpet, not
to “shock” visitors, not to lose a job, so investors would not stop coming...
But I lived with this bundle of the past put out of sight, stumbling over it
every time I wanted to be “like others,” and knowing that an emotional bomb was
hidden from sight.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"> </span><span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">For years, I felt that it was necessary to bring the
bundle out into the open but, and at the same time, I was afraid to do so, to
move projects, dreams, and possibilities tangled up in there into other spaces,
and not to leave them reduced to a number on a list of reports.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Between
November and December 2009, I had the opportunity of travelling to Chile to do
research for the installation of “The Chilean Miracle.” I patiently searched
out documents that bore witness to stories similar to those that were hidden in
my own family, and I met the admirable people who gave me their documents and
their life stories. Together with them, I developed an installation made
up of columns as symbols of the sacrifices “necessary” to maintain the Free Market
economy “model.”</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">Chile is the world’s 5th biggest producer of cellulose, at the expense of
native forests and of the way of life of our indigenous communities: the
Mapuches and Huilliches. Paradoxically, when I left France to work in Chile, I
expected to buy good drawing paper there, and, yet, I was wrong: the good drawing
paper comes from France and Italy, at an imported price, for a privileged group
of artists.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">When in Chile I drew portraits of the people who let me have their
documents by way of an interview, thus establishing a space for a dialogue
while I portrayed them and giving them something in return in this difficult
process. During this dialogue, I told them some of my own testimony, and I
found, in my interviewees, not only understanding but,above all, a
complementary explanation of the facts. Each of them had seen and remembered
something I did not know, but, in some sense, they also told me something about
my own personal costs thus enabling me to uncover them; they showed me their
lives, as anonymous as my own, and yet as unique, resonating with my own. This
was a painful process, but above all, a purifying one. It was the creation of A
Place for Each One in this Story; it helped me deal with the weight of the
past, giving it its proper dimension, not diminishing its importance, inhabiting
it, unravelling it, with their cooperation. I discovered that the Chilean Miracle
was, for me, not about the economic results, used to contrast Chile with its neighboring
countries and to “feel superior,” but about its people who, in spite of a
systematic brainwashing, which the Chilean media invested long years in
perfecting, had not forgotten their past. This historical memory allows them to
survive with dignity and with a critical view of their own and that memory allows
them to continue to resist from their communities.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">The
Miracles</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">When I drew these people and tried to construct the metaphorical archive
of the human cost of the Chilean miracle, I created a space in which to deposit
the painful memories these events had engraved on our collective conscience. As
an equal mirror of these stories, being neither a political authority, nor a
public institution, nor a judge, I created a framework in which the others
could put down their “crosses.” My own personal miracle was to be able to find
a dimension for both my loss and my good fortune in being alive, thanks to the
collective vision of pain constituted by this archive. I was also able to enjoy
hearing other miracles and sharing my own testimony with the others, comparing
what, in their stories, reminded me of my own; this experience helped in the
process of my moving on to the next stage, from chrysalis to butterfly. This
catalogue is made up of these layers that, when revealed, permit us to observe
the way people’s lives are shaped and rebuilt.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
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<span style="font-family: "Courier New"; font-size: 13.0pt; mso-font-kerning: .5pt;">These are the ingredients that constituted the installation of the
Chilean Miracle, the miracle that limits human rights and boasts of an economy
producing the world’s cheapest toilet paper at the expense of its native
people, its waters and its forests.</span><span style="color: #1d1d1d; font-family: "Courier New"; mso-font-kerning: .5pt;"></span></div>
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"></span></div>
</div>
Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0tag:blogger.com,1999:blog-752759483223379262.post-86175903868767335012009-11-20T05:59:00.000-08:002012-04-28T03:51:17.985-07:00Testimonios<br />
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</div>Marisa Cornejohttp://www.blogger.com/profile/16015166800315911956noreply@blogger.com0