A War Machine I - Fluid Mechanics          +INFO

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    2017

     

    documenta14 - Benaki Museum, Pireos Street Annexe, Athens

     

    Polystyrene sheets, acrylic, test tubes, flexible tubes, metal, urine, pigment, graphite, shellac and prints on wooden frame. Dimensions variables - approx. 6x5 m.

     

    The installation includes two elements, a floor plan drawn on white Polystyrene sheets and a table with a carburettor.

     

    The floor plan marks a territory that can be transited. The architectural settings are from the Palacio de La Moneda in Santiago de Chile, the main headquarters of the Deutsche Bank in Frankfurt and a sketch of the German military tank, Leopard 2 model. It also includes the police sketch of the murder/suicide of president Salvador Allende and of the killing of the student leader Rudi Dutschke.

     

    According to the fluid mechanics, a carburettor is a device that blends organic substance for combustion to produce energy.


    This carburettor blends urine samples and connect them to a sketch of a hybrid organism, a mix of llama and human. The symbolic urine dispensers are CEOs of politics, economics and the military hegemonic power. The hybrid organism processes the liquids and expels them as the Amazon River that flows backwards. The hybrid is the loop in the machine that saturates the system and floods the carburettor.

     

A War Machine II - Ethno Mechanics         +INFO

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    2017

     

    documenta14 - Neue Galerie, Kassel

     

    With many thanks to: Yankuam Francisco Shiki Mashu, María Balbina Paucar, Patricio Pinchupa

     

    Clay, latex, human hair, organic materials, acrylic, polystyrene sheets, metal, wood, pigment, graphite, shellac and prints. Dimensions variables - approx. 10x7 m.

     

    Operation Manual for A War Machine

     

    The Casting:
    Following a forensic methodology, a number of persons related to the fields of politics, economics, culture, and the military-industrial complex are selected.

    The selection reverses the concept of the noble savage to instead classify those anthropophagus personalities whose existence is dedicated to the eradication of a broad range of humanity.

     

    The Shrunken Heads:
    After the casting, the final candidates are subjected to a reduction of the size of their heads. The process makes use of three-dimensional portraits as raw material by preparing them with organic substances. The act of mimesis inherent to the reduction of the candidates’ heads, a practice developed by the Shuar culture of the Amazonian region between Ecuador and Peru, re-signifies ethnography as an ideology of war. Once granted permission by a Shuar leader, the trophies can be prepared in public and displayed in showcases.

     

    The Ethnographic War Machine: The final fetishes are connected in a closed circuit. The operating machine extracts meaning, as a life force, from the heads and channels it to itself. The device is built onto a floor map that describes the architecture of the feedback system. Any machine can be overloaded and directed to its own failure.

Cartografias mentais         +INFO

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    2008

     

    Sesiones de escritura pública en la biblioteca del Instituto Goethe de Lisboa, curaduría de Daniela Brasil

     

    El lenguaje como sistema es similar a una mega ciudad, ambos son lógicos en su estructura, sin embargo, desplazarse por ellos es una experiencia caótica. En los paneles y mesas colecciono fotografías de posibles personajes, anoto secuencias de una trama y dibujo mapas de contenidos e itinerarios. En el relato se describen sucesos de una manera no lineal, como posibles variaciones en el destino de una ciudad. El texto incluye noticias de periódicos, cartas privadas, entrevistas anónimas hechas en la vía pública y datos históricos de los siglos XV y XIX.

     

Mesa II El Escorial         +INFO

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    2015

    El Escorial - Materiales de una excavación

     

    Instalación con materiales orgánicos, textos, dibujos y fotografías dispuestos en una mesa de exposición al estilo de un museo etnográfico. MESA II es parte de una serie de instalaciones con las que investigo sobre la presentación de objetos y restos orgánicos provenientes de culturas no occidentales y el lenguaje científico que los describe. Una museografía que intenta ser absolutamente objetiva y relatar la "verdad" de los restos expuestos. El mismo principio etnográfico se aplica a materiales de la historia europea contemporánea y sus antecedentes colonialistas.