Política de gestos y de vida
Art helps us to more precisely understand our surrounding environs and its context even in cases when it has no social or political pretensions. On the other hand, when its understructure and goals are clearly political, this understanding of our surroundings becomes a kind of unveiling of what powers-that-be try to conceal. The function of artists who act politically is not to represent an artistic activity but to construct a reality that competes with the officialdom of its adversary, generally defended by governments that limit freedom, or are unfettered by the constraints of memory or self-critique. When they suffer from a lack of memory, there is usually an authoritarian government near at hand, or at least the lingering effects of one, the product of a still enduring legacy; when what they are lacking is self-critique, one can gather that their democratic processes are still unseasoned.
The exhibition bringing this year’s season at espaivisor to a close juxtaposes different ways of making art that always attempt to unmask ruling officialdom, whether this be during Pinochet’s military dictatorship in Chile, as in the case of C.A.D.A. (Colectivo Arte de Acción) or Lotty Rosenfeld; or whether it is in the present period, as in the case of Fernando Bryce’s socio-political exploration of momentous events and characters from twentieth century history. The differing proposals endorse the same idea that art and its makers are, first and foremost, eye-witnesses of a concealed or disguised reality which needs to be exposed.