“Women artists”, audiovisual project that gathers eight Chilean artist that share critic perspectives about body and territory

Nancy Gewölb, Julia San Martín, Eli Neira, Janet Toro, Bruna Truffa, Eugenia Vargas-Pereira, Ingrid Wildi and Ximena Zomosa are the convened artist to participate in this project of audiovisual pieces that delve into his career and thinking.

Women artists is a project of audiovisual pieces currently filming that deepen in the career and work of eight Chilean visual artist, that have contributed extensively to the art scene, from a systematic, valid, and critic practice. The project was created to bring the different groups of people together, the praxis of women artists that have contributed with a meaningful vision in the Chilean scene, in terms of genre, cultural and politic critic.

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“These are women artists who tell a part of the history of contemporary Chile, from the seventies onwards and that have historically been made invisible by their radical discourse. In the traditional art scene, women have always had a secondary role overridden by gender roles and in the case of the women summoned in this project, this has been more notorious due to their extreme critical positions expressed throughout their history and artistic work “, says the artist Klaudia Kemper, project director who assigns particular relevance to the fact that the project has been designed, managed and carried out by women with a gender position.

They head the project with Klaudia Kemper, Mane Adaros as curator, Karina Ogaz as a producer. Added to this are Guillermo González, on camera and Rodrigo Muñoz, on sound.

Acción de Nanci Gewolb
Act by Nanci Gewolb

With a mostly multidisciplinary vision, the group of artists works and moves through the practices of performance, photography, painting and video; proposing a significant and critical value, in the use of means and materiality. In this sense, artists are linked to the economy of materials; with gender in an organic consumption (subjects-gender, subjects-capital); with technology, memory and extractive processes. The curatorship, moreover, has created a polyphony of voices that cross different trajectories and experiences: “In a country that shies away from criticism and diversity, each one of the artists has been invited for the significant journeys they have made in the artistic field, but also for their experimentation and ruptures “says Ms. Adaros, curator of the project.

This project was financed by the National Fund of Cultural Development and the Arts, call 2019 and will be released in Chile in January of 2020 and can also be seen through some television channels. It will also be broadcast and exhibited at the MUMA, Virtual Museum of Mexican Women Artists, giving the footprint for the Latin American dissemination of the series.

Karina Ogaz y Klaudia Kemper, productora y directora
Karina Ogaz and Klaudia Kemper, producer and director

About the convened artists

NANCY GEWÖLB (Santiago, Chile, 1939). Recorder and visual artist, she made her studies in the seventies at the School of Fine Arts of the University of Chile. She was a student of José Balmes and Carlos Ortúzar. She completed design courses with a textile specialty at the Catholic University of Chile. Her work revolves around memory, either from her autobiography in her early works or through social and political memory in the most current.

JULIA SAN MARTIN (Chillán, Chile, 1963). Bachelor of Arts, painting mention, at the University of Chile, currently resides in New York. Since the 80’s her work has been presented in Chile and the world. Her work includes paintings, videos, photographs and installations, where she reflects on identity, the past and its crosses with the present.

ELI NEIRA (Santiago, Chile, 1973). As a journalist, since the 2000s she has been producing a prolific artistic activity that is framed within poetry, performance, collage, poetry and creation of objects with an ethical, aesthetic and unified political proposal, in which her personal life and political positions have a great influence.

 JANET TORO (Osorno, Chile, 1963). Bachelor of Arts at the University of Chile, was part of the Association of Young Plastics (APJ) and the Social Plastic Group in the nineties. Her visual work includes performances, installations and objects, drawing on her personal experience and a previous theoretical elaboration. The artist avoids expensive materials, using elements such as plastic, gender, flour, paper, leaves, thread, hair, nails, earth, stones, simple materials that belong to everyday life.

BRUNA TRUFFA (Arica, Chile, 1963). She studied Art at the University of Chile and at the Institute of Contemporary Art in Santiago. Between 1989 she with her pair Rodrigo Cabezas travel to Spain. There she graduated from Master in Aesthetics and Art Theory, at the Autonomous University of Madrid. Through her work she has developed her own language that is part of the Pop Art strategies.

EUGENIA VARGAS PEREIRA (Chillán, Chile, 1949). Multidisciplinary artist with extensive international experience in performance, installation, video and photography. Her work is based on gender, nature and popular culture. She has participated in the Venice Biennial, Italy 1992; Photography Biennial, Rotterdam, The Netherlands; Biennial of Venice, 2003; Center Pompidou, Paris, France; Museo de Arte Contemporáneo, Miami, Florida, among others.

INGRID WILDI (Santiago, Chile, 1963). She graduated from the School of Arts and Design in Zürich, Switzerland. Her work investigates and explores within the fields of postcolonial and decolonial studies, on the problems related to migrations, memory, identity, dislocation, social and cultural movements.

XIMENA ZOMOSA  (Santiago de Chile 1966). Between 1985 and 1990 she studied at the School of Art of the Pontifical Catholic University obtaining a degree in art, recorded mention, being a student of Eduardo Vilches. Her work is characterized by the use of materials of daily life in installations that are inspired by the autobiographical and the feminine imaginary with a tone of irony and criticism. In 2004 she received the Altazor Prize for National Arts in the Installation and Video Art category.

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