Kolectivo 911 al Cuadrado / 911 Squared Collective

PRIMAVERA DE SPTIEMBRE 1973 BY PESKADOR

2010-02-26T22:20:00.000-08:00

"Primavera de septiembre 1973"
Stencils, spraypaint, oil pastel sobre papel
80'X38"
sept 2009

"¡Trabajadores de mi Patria!: Tengo fe en Chile y en su destino. Superarán otros hombres este momento gris y amargo donde la traición pretende imponerse. Sigan ustedes sabiendo que, mucho más temprano que tarde, se abrirán de nuevo las grandes alamedas por donde pase el hombre libre, para construir una sociedad mejor. ¡Viva Chile! , ¡viva el pueblo!, ¡vivan los trabajadores!"

Últimas palabras públicas de Salvador Allende.

la a todos etse trabajo fue hecho para el show "ART VS EMPIRE" del "Colektivo 9-11 square" El pasado septiembre del 2009 en La Peña Cultural Center en Berkeley california.
Hay una version callejera un poquito diferente que posteare mas adenlante....un gran abrazo libertario!

9-11 COLECTIVE PRESENTS 2009 "ART VS.EMPIRE"

2009-08-27T22:35:00.000-07:00

Opening reception FRI 9/11 7pm

Pachanga rebelde SAT 9/12 8pm $5

911 Squared Collective As a collective of concerned artists, writers, and musicians, we commemorate the September 11, 1973 coup d’etat in Chile and the September 11, 2001 attack on the World Trade Center through our art, words & music. We denounce the global corrosion of civil liberties and the corporate drain of the Earth’s human and natural resources while we call for a truly independent investigation with Subpoena and Contempt Powers to uncover the complete truth of the events related to 9/11/2001.

Opening Reception FRI 9/11, 7pm free

Pachanga Rebelde with dj Juan Data SAT 9/12, 8pm $5 & live music by Rafael ManríquezMaria Loreto RamirezPoncho JaramilloHector SalgadoFernando Torres

Participating artists

Monica Alvarez, Daniel Camacho, Pablo Eggers, José Antonio Galloso, Ivan Herrera, Gabriel Holzapfel, Alfonso Jaramillo, Alvaro Lagos, Roberto Leni, Yael Martinez, Lisa Milos, Pescador, Favianna Rodriguez, Hector Salgado, Rafael Sanhueza, Carlos Villamar, Ester Vines.

La Peña cultural center

3105 Shattuck Ave. Berkeley, Babylon

colektivo 9-11 en la tele!

2009-04-07T21:12:00.000-07:00

CUANDO SE ENJUICIA A ESTE?

2009-04-07T20:49:00.000-07:00

STREET ARTpicture taken in L.A. by peskador

"Ayer estuvo el diablo aquí, en este mismo lugar. ¡Huele a azufre todavía esta mesa donde me ha tocado hablar! Ayer, señoras, señores, desde esta misma tribuna el señor Presidente de los Estados Unidos, a quien yo llamo «el diablo», vino aquí hablando como dueño del mundo, como dueño del mundo. Un psiquiatra no estaría de más para analizar el discurso de ayer del Presidente de los Estados Unidos."

Hugo Chavez

LA LUCHA CONTINUA, CON O SIN OBAMA

2008-11-19T21:34:00.000-08:00

Foto socializada de indymedia

"El revolucionario verdadero está guiado por grandes sentimientos de amor."
CHE GUEVARA

"Libertad sin socialismo es privilegio e injusticia, socialismo sin libertad es tiranía y brutalidad."
Mihail Bakunin

Interview - Naomi Wolf - Give Me Liberty

2008-10-10T18:48:00.000-07:00

RECONSTRUYENDO LA MEMORIA DEL IMPERIO 2008

2008-09-30T22:47:00.000-07:00

Esto fue una demuestra que la auto-gestion funciona y se pueden lograr cosas increibles con el aporte de todos los talentos unidos, nunca seremos callados!

SALUD A TOD@S

SEPTEMBER14/08

2008-09-15T22:12:00.001-07:00

taking a part the exhibition september14/08

2008-09-15T22:07:00.000-07:00

PIC'S GISELA VALDEBENITO,ALVARO LAGOS

Closing night 9/13

2008-09-15T21:39:00.000-07:00

closing night september 13/08

2008-09-15T21:34:00.000-07:00

closing night september 13/08

2008-09-15T21:30:00.000-07:00

closing night september 13/08

2008-09-15T21:26:00.000-07:00

closing night september 13/08

2008-09-15T21:24:00.000-07:00

closing night september 13/08

2008-09-15T21:21:00.000-07:00

closing night september 13/08

2008-09-15T21:18:00.000-07:00

closing night september 13/08

2008-09-15T21:13:00.000-07:00

fotos por alvaro lagos

SEPTEMBER 11

2008-09-15T17:09:00.000-07:00

VIGILIA SEPTEMBER 11/08

2008-09-15T17:03:00.000-07:00

SEPTEMBER 11

2008-09-15T16:56:00.000-07:00

SEPTEMBER 11

2008-09-15T16:38:00.001-07:00

OPENING RECEPTION SEPTEMBER 11/08

2008-09-15T16:17:00.000-07:00

opening reception 911squared collective

2008-09-15T16:07:00.000-07:00

PHOTOS BY GISELA VALDEBENITO Y ALVARO LAGOS

Sept. 11 + 13, 2008 | 7pm Reconstruyendo la Memoria del Imperio Reconstructing the Empire's Memory by the 911 Squared Collective

2008-09-03T20:24:00.001-07:00

Donde está - Where is Workspace Limited...

2008-09-03T18:21:00.000-07:00

View Larger Map

We Remember the Sun: 9/11/1973

2008-09-03T17:57:00.000-07:00

We Remember the Sun: Performance

We Remember the Sun: 9/11/1973
Performance by L. M. Bogad and Praba Pilar

Thursday, 11 September 2008, 7:00pm
800 Chestnut Street campus
Free and open to the public

As part of the ongoing exhibition in the Walter and McBean Galleries, We Remember the Sun, L. M. Bogad and Praba Pilar will perform an original piece that commemorates the anniversary of an act of terrorist aggression: the CIA-assisted military overthrow and killing of Chile’s democratically elected president, Salvador Allende. A rooftop ritual, We Remember the Sun: 9/11/1973 will mark the spirit of rebellion, social hope, and solidarity that typified progressive political movements like that of Allende's a generation ago.

www.lmbogad.com
www.prabapilar.com

Truth 911

2008-08-28T12:49:00.001-07:00

YA SE VIENE SEPTIEMBRE A PREPARAR LAS PIEDRAS VISUALES

2008-08-25T21:56:00.000-07:00

foto x peskador

"Ser joven y no ser revolucionario es una contradicción hasta biológica"
Salvador Allende

Primera version del colektivo 9-11 2003

2008-08-13T22:43:00.000-07:00

De izquierda a derecha: Roberto Leni, Mabel negrete, Macarena Gomez-Barris, Ariel lopez, Rafael Sanhueza, Peskador, Alvaro Lagos ( ausentes: Gabriela Fischer y Nicole) 2003

"¿Habéis organizado ya vuestra colectividad? No esperéis más. ¡Ocupad las tierras! Organizaos de manera que no haya jefes ni parásitos entre vosotros. Si no realizáis eso, es inútil que continuemos hacia adelante. Tenemos que crear un mundo nuevo, diferente al que estamos destruyendo."

Buenaventura Durruti

RESISTENCIA CONTRA EL IMPERIALISMO

2008-08-02T12:18:00.000-07:00

"Resistencia"

foto por peskador

“El trabajador obligado a luchar penosamente por la vida nunca llega a conocer los altos goces de la ciencia y de la creación artística. Para que todo el mundo llegue a estos placeres, que hoy se reservan al menor numero, para que tenga tiempo y posibilidades de desarrollar sus capacidades intelectuales, la renovación debe garantizar a cada uno el pan cotidiano. Y luego, tiempo libre. Este es nuestro propósito supremo”
Piotr Kropotkin

“Ellos mandan hoy... porque tú obedeces!” Albert Camus

2008-07-24T12:06:00.000-07:00

2008-07-24T12:05:00.000-07:00

2008-07-24T12:04:00.000-07:00

miguel henriquez

2008-07-24T12:01:00.000-07:00

Mabel Negrete: Socially Engaged Art

2008-07-23T12:16:00.000-07:00

STATEMENT

I am a visual artist working in the domains of installation, performance, multimedia, public art, experimental processes and relational aesthetics. My projects and activities are best defined to explore the body, place, and collective memory. Through these mediums and concepts, my (intimate, playful, satirical) work is deeply concerned with the social and natural dynamics that hinders humanity from creating non-exploitative and sustainable societies today. Having witnessed xenophobia, discrimination, dislocation, child abuse, domestic violence, judicial violence, state violence and environmental disasters, my work is a way to release, transform and bring into consciousness the emotional despair, confusion and anger that these contemporary issues provoke in me and to the community at large.

BIOGRAPHY

I migrated with my brother to the United States in 1988 to live with my mother who seven years prior had also escaped from domestic violence and the political and economical despair of our country, Chile. We lived in the town of Burlingame (Bay Area) and I graduated from Burlingame High School in 1991. I spend that summer studying painting at the Academy of Arts and by 1992 I moved back to Chile to reconnect with my cultural heritage. I took courses in history and studio art at the University of Playa Ancha. By 1994 I was back in California where I worked while studied Fine Arts at Foothill and San Francisco Community College. By 2006 I was a BFA recipient from the San Francisco Art Institute.

My work has been shown publicly and exhibited at various cultural institutions such as Intersection for the Arts, SlaughterhouseSpace, LivinGallery (Italy), Southern Exposure, Galeria de la Raza, and the San Francisco World Affairs Counsel. I am founder and frequent contributor to numerous social art projects such as Hypersea, The Counter Narrative Society and most recently Plain Human. I make my living as an educator and have participated in a variety of residences for artist-teachers including City Studio (SFAI), Southern Exposure and Mission Science Workshop.

I have recently finished my social-art project Wear Orange for A Day and I am now preparing to produce my next art project. This is a series of experimental performance-interventions and exhibitions project aiming to further the discussion about solitary confinement units that was addressed at the conference STOP MAX at Temple University, Philadelphia.

Photos:
1 - Mabel inhabits the Sensible Housing Unit (SHU) at the Golden Gate Park on 7.24.08
2 -Wanna Be! - A new project, 6.2008
3 - Wear Orange for a Day - Some participants hanging out after performing in front of the City Hall, San Francisco, 3.11.08

IMPERIALISMO = MUERTE

2008-07-15T22:05:00.000-07:00

imperialismo=muertefoto x peskador
"Indeed, the keynote of government is injustice. With the arrogance and self-sufficiency of the King who could do no wrong, governments ordain, judge, condemn, and punish the most insignificant offenses, while maintaining themselves by the greatest of all offenses, the annihilation of individual liberty". ---- Emma Goldman

Micrófono Abierto

2008-07-01T17:54:00.000-07:00

PIG AGAINST EMPIRE

2008-06-30T21:54:00.000-07:00

"radical pig"

San Francisco

x peskador

YouTube - pelusientoalvaro's Channel

2008-06-29T12:04:00.000-07:00

YouTube - pelusientoalvaro's Channel

Ester Vines y su arte visionario

2008-06-25T19:10:00.000-07:00

"Machi"

"Machis"

Ester Vines was born in Chile, at a young age she developed the abilities for drawing and painting, making her winner of numerous contests at a school level.
Under the surveillance of her Art teacher she discovered her love for art.
From then on she has been practicing and improving her skills in different painting techniques.
Native of Temuco- Araucaniaʼs Region she is interested in showing thru her paintings the Cosmo vision of the Mapuche people, their culture, their connection to the spirit world and their continuing struggle for keeping their culture and traditions alive, their lands and the native forest."

Bienvenida a buena hora!!!!

24 7 365

2008-06-21T13:27:00.000-07:00

6.19.2008
A new video-performance dealing with USA's penitence / solitary confinement or SHU (security housing units) ~ Originally situated at the Slaughterhouse Space in Healdsburg, CA - USA. [lamaldita]

2008-06-18T16:44:00.000-07:00

Protesta contra el gobierno Neo-liberal de Bachelet-concertacion en Berkeley, CA, el 14 de junio de 2008

2008-06-16T20:15:00.000-07:00

Parte de la comunidad Chilena, el colektivo 9-11 y varios aliados Estadounidenses nos manifestamos afuera del "Chevron auditorium"( QUE PARADOJICO NO?) en el "International House" de la universidad de California en contra de las politicas Neoliberales y represivas que implementa el mal gobierno! aqui un poco de las 4 horas que nos mantuvimos resistiendo...video creado y editado por miembros del colektivo en tiempo record! se pasaron cauros! Aqui van nuestras demandas:

A todos los Chilenos y a la Comunidad Internacional del Area de la Bahia, este es un llamado para manifestarnos en la Universidad de California, Berkeley, por la visita de la Presidenta de Chile Michelle Bachelet invitada por el gobernador republicano Arnold Schwarzenegger para firmar una serie de acuerdos de “cooperación” económica entre Chile y California. Estos, ideados por las elites políticas de ambos países a puertas cerradas.

Por eso creemos necesario y urgente manifestarnos para desenmascarar la falsa imagen que el gobierno de la Concertacion esta mostrando a la comunidad internacional y rechazamos rotundamente esa “Transformación de Chile” que el mal gobierno nos impone.

Queremos denunciar la represión y el encarcelamiento sistemático del pueblo Mapuche.

Exigimos la libertad incondicional e inmediata de los presos políticos Mapuche. (Info sobre Mapuche)

Exigimos la libertad inmediata de la documentalista videografa, Elena Varela, arrestada por mostrar la realidad de las comunidades Mapuche y sus conflictos con las forestales. (CLICK AQUI para ver el trailer del documental incautado por los servicios de inteligencia de Chile)(Más información sobre Varela | Conferencia | Su Carta )

Exigímos la derrogación absoluta de la Ley Antiterrorista, ley que fue impuesta por la dictadura y que todavía sigue usándose en contra el pueblo Mapuche y activistas en general. (click aqui para info sobre Ley Antiterrorista)

Exigímos la derrogación inmediata de la Ley General de Educación la que privatizará por completo la educación pública en Chile y el cese a la represión en contra del movimiento estudiantil. (Info sobre el movimiento estudiantil)

Alto a la construcción de represas hidroeléctricas en la Patagonia que están usurpando los recursos naturales del sur de Chile y de los pueblos originarios. (Info aqui)

Pedimos un cese a la destrucción de los glaciares en la cordillera de los Andes por la explotación minera de la compañía Barrick Gold y su proyecto Pascua Lama. (Info aquí)
____________________________________________________________________
The Transformation of Chile

To all Chileans and to the International Community in the Bay Area, this is a call to participate in a protest at the University of California, Berkeley. Michelle Bachelet, the President of Chile, has been officially invited by our republican governor, Arnold Schwartznegger and will be speaking about the economic cooperation agreements reached between her government and California. These agreements were reached by the political and economic elites of both countries behind closed doors.

This is why we believe it is necessary and urgent to expose the false image that the government of the Concertacion in Chile is attempting to show the international community and we repudiate and reject this “Transformation of Chile” that this government proposes.

We want to denounce the repression and systematic imprisonment of the Mapuche people.

We demand the unconditional and immediate release of the Mapuche political prisoners. (Info sobre Mapuche)

We demand the immediate release of the documentary filmmaker, Elena Varela, arrested for documenting the reality of the Mapuche communities and the battle being waged against them by the forestry companies (see link CLICK AQUI of trailer of the documentary that has been confiscated by the intelligence services in Chile)

We demand the abolition of the Anti Terrorist Law, which was imposed by the Pinochet dictatorship and continues to be utilized by the government of the Concertacion to imprison Mapuche leaders and activists in general.(link click aquí to learn more about the Antiterrorism Law).

We demand the immediate abolition of the General Education Law which will completely privatize public education in Chile. We also demand an end to the repression being waged against the student movement. (Info about the student movement in Chile)

We demand a stop to the construction of hydroelectric dams in the Patagonia that are stealing the natural resources in the south of Chile that belong first and foremost to the original peoples of Chile. Info

We ask for an end to the destruction of the glaciers in the Andes mountains due to exploitation of gold and other minerals by the mining company Barrick Gold in the Pascua Lama project. Info

manifestacion contra Bachelet en Berkeley

2008-06-14T13:40:00.000-07:00

Todas las fotos por Alvaro lagos

2008-06-14T13:30:00.000-07:00

MARICHIWEU, Libetad a los presos politicos Mapuches!

2008-06-02T22:14:00.000-07:00

"plegaria"

"vuelo"

fotos por Alvaro Lagos
MARICHIWEU!

“La pobreza y la falta de tierras para nuestro pueblo es violencia. Nuestras acciones son contra bienes forestales o materiales, nunca contra la vida, son acciones simbólicas contra propiedades de usurpadores y destructores de nuestro habitat. Los muertos son muertos mapuche. Para nosotros no hay estado de derecho, los comuneros estamos viviendo como en dictadura.”
Hector Llaitul

CONTRA LA REPRESION LOS COLORES SON EL ARMA

2008-05-08T22:12:00.000-07:00

foto socializada de la red

"It is possible they will smash us, but tomorrow belongs to the people"

Salvador Allende

boomp3.com

ACCION DIRECTA: SQUAT OR HOMELESS

2008-04-29T12:52:00.000-07:00

foto por peskador

indignante e inhumano dejar a la gente en la calle!!!!!!

El marimbero

2008-04-22T12:13:00.000-07:00

Espanto espíritus sagrados
prendo incendios milenarios
vientos sordos llevo adentro
de altiplano huracanado

Sikuris y tamboreros
vieron retumbar la tierra
shamanes y jaraneros
acudieron a ella

Con comparsa y batucada
levantaron ya mi cuerpo
a rajatabla los ramales
retoñaron por dentro

Solicito jaranero jijopero tamborilero
xilofonero para mi rumba

Marimbero de tus destierros
canta tus anhelos nombra tu rumba

Marimbero de tus destierros
xilofonero para mi rumba

Solo pétalos de hierro
ponen fin a tu tormento
Una sola melodia
acompaña ese lamento

Dedicado al Colectivo 911.
Gracias chikillos por todo su apoyo. —Poncho

EL PUEBLO ESTA EN LA CALLE

2008-04-14T17:17:00.000-07:00

"El pueblo esta en la calle"
acrilico sobre papel
1997

"God forbid we should ever be twenty years without...a rebelion"
Thomas Jefferson , 1787

"This country,with its institutions, belongs to the people who inhabit it. Whenever they shall grow weary of the existing goverment, they can exercise their constitutional right of amanding it, or their revolutionary right to dismember or overthrow it"
Abraham Lincoln, 1861

"I would not be a capitalist; I would be a man; you cannoT be both at the same time"
Eugene Debs, 1905

"With about five percent of the world's people, we consume about half the world's goods. We take a richness that is in good part not our own, and we put it in our pockets, ours garages, our split levels, our bellies, and our futures."
Carl Oglesby, 1965

"Guard againts the postures of pretended patriotism"
George Whashington, 1796

LOS MATEROS EN LA PEñA DE BERKELEY

2008-04-14T17:10:00.000-07:00

Nuestro querido grupo "Los Materos" representando al pueblo chileforniano se presentaron en "La Peña de Berkeley tocando sus temas originales de folk- fusion...Aqui un aperitivo!

Ostracismos

2008-04-08T10:22:00.000-07:00

Opening exhibit of the Torres brothers book at La Peña.
A dialogue of two brothers separated by exile under Pinochet's dictatorship.

CINCO AñOS DE LA OCUPACION ILEGAL DE IRAK

2008-03-25T19:45:00.000-07:00

INSIDE JOB?

DE ACUERDO CONTIGO!

DE LUTO POR IRAK

ASI LO QUEREMOS!

PINCHE CHEVRON Y CONDOLEZZA !

EXTRA ACCION BAND

Fuera U.S. de Irak AHORA!!!!

fuera los gansters de la casa blanca!!!

poder popular!!!!

Chevron Criminal

2008-03-20T09:29:00.000-07:00

BURNING FEAR

2007-10-30T12:21:00.000-07:00

BURNING FEAR

09.2007

I made this instructional piece for the event Art Against Empire as a way to mourn and speak out against the Capitalist tyranny that has affected our Chilean society and the world all over.

[ lamaldita ]

For more: Burning Fear

Loreto Sanhueza : exile by - default

2007-10-05T08:44:00.000-07:00

" Ojos de la abuela"

dibujo lapiz carboncillo

Artist Loreto Sanhueza Leni was born one cold Sept. 22nd morning of 1981 in Concepcion, South of Chile, Mapuche land. Drawing has been an integral part of her life. “At age two my Mamma’ put me in a high chair with pencils and crayons. I have a picture to prove it.” It was also at age two that Loreto came to this country, the country of the North, really, as the product of a plot of sorts planned by her mother, whom fed up with living under the brutal military dictatorship that exiled her beloved family decided to leave Chile secretly knowing the short visit was for good. Loreto became one among many of the children referred to as Exiles by De-Fault. In the convergence of blood streams, lands and peoples she is recognized as a stellar master of Tattoo and the art of putting ink to skin. She is also an illustrator and as she puts it: “Bay Area raised and proud of it.”

"Dis-appeared words"

lapiz tinta sobre una camiseta

historia corta por Roberto Leni

Septiembre 11 - Noche de Klausura

2007-10-04T08:18:00.001-07:00

Jairo rodriguez y dennis maxwell

Alvaro lagos y Maria Loreto

Mabel Negrete

Aleixo a.k.a V.J. Cheo

Rafael Daily de reportero del crimen

Poncho Jaramillo con el fat bass

Axel Herrera en la bateria y percusiones

Maria Loreto Ramirez en el bombo leguero y su bella voz

Detenidos desaparecidos en espiritu con el colektivo 9-11

Victor Jara : PRESENTE!!!!!!!!!

Algunos de los culpables...

Noche de Klausura/ Klosing night

2007-09-24T23:42:00.000-07:00

Mabel y todos quemando los miedos. Indira quema su arte como prometió y Kakoláktico se lanza un free style 2 911

Conmemorating the two September 11s

2007-09-14T00:07:00.001-07:00

September 11 Closing Night/ Noche de Clausura

2007-09-12T17:47:00.000-07:00

Last night of the show! Estas cordialmente invitad@. You are cordially invited!

2007-09-10T17:21:00.000-07:00

Mural of detained/disappeared Chileans created in London during Pinochet's 503 days of jail in England.

You are cordially invited to observe the two nine elevens together with the 911 squared collective! The exhibit has been a huge success thanks to the overwhelming support we have had from the community and we want to formally invite you to participate in the closing event tomorrow, tuesday, September 11. The program will start with a participatory ceremony in which we will remember and honor the thousands of people killed by the military during the dictatorship years in Chile as well as those fallen by consequence of the events of September 11. 2001. Following the ceremony, we will have occasion to speak out and finally close the event with live music from Duamuxa, Kakoláctico and Los Materos.

We'll see you at the gallery, then! Doors open at 7pm and the program starts at 8pm.

Te invitamos cordialmente a observar los dos once de septiembres junto con el colectivo 911 al cuadrado! La exposicion ha sido todo un exito gracias al apoyo que hemos tenido de la comunidad y queremos invitarte a que participes en la clausura de este evento mañana, martes 11 de septiembre. El programa incluye una ceremonia participativa en la que recordaremos a los detenidos desaparecidos y ejecutados por la dictadura militar en Chile tanto como los caidos a causa de los acontecimientos del 11 de septiembre, 2001. Despues de la ceremonia, tendremos la ocasion para expresarnos y cerrar el evento con música de Duamuxa, Kakoláctico y Los Materos.

¡Nos vemos en la galeria, entonces! Las puertas se abren a las 7pm y el programa comienza a las 8pm.

Un exito contado en los dedos de mi mano

2007-09-10T15:49:00.000-07:00

Este evento se ha ido transformando y está aún en plena metamorfosis, reflejando a la multitud de artistas de distintos géneros que participan en él. Los primeros dos días fueron un éxito rotundo tanto en audiencia como en nivel de energía.

El domingo fue un éxito contado en los dedos de mis manos, porque llegaron personas de distintas ciudades del área de la bahía con el interés de compartir palabras, pensamientos y sentimientos.

Eso se logró y más aún tomó vida propia con conversaciones de toda índole desde el poema Viva Chile M… de nuestro querido Fernando Alegría, la poesía de Caulen traída por su madre Delia y leída por Lisa Milos, hasta mis palabras y las de Lisa publicadas en este blog.

Además conversamos del impacto psicológico que tuvo el vivir en dictadura y vivir en exilio después del golpe militar en Chile en 1973 con la mediación de Marcia Campos. Y nuestra memoria fue vista a través de la óptica de distintas generaciones, los que fueron presos políticos, las que huyeron con sus bebes, los que crecieron allá y lo que han visto los que han vuelto. Sigamos adelante se están logrando hitos pequeños y grandes, previstos e imprevistos,,,

—Marci Valdivieso

Mas del domingo 9 de septiembre

2007-09-10T15:45:00.000-07:00

Divagaciones

2007-09-10T15:42:00.000-07:00

Fronteras de aire, fronteras de mar,

de tierra y de viento

Trataron de imponer sus lazos sobre mí

A mi lado la derecha con sus cadenas de familia y la fe

Y de mi mano la izquierda con su anhelo libertario

Mi cuerpo fue rayado por fronteras

En el Este mi “blusita” de seda rosa

Y en el Oeste mi pañuelo rojo y negro

Resistencia, conciencia y paciencia

Aprendí al pie de las fogatas

Las guitarras y los cantos

olvidadas quedaron las marchas prusianas

Del abuelo y el almidón y las medias en verano

Se guardaron por al menos un buen tiempo

Quizás para siempre

Emprendí el vuelo como lo hicieron

mi padre y sus amigos en su breve sueño

tan cruelmente interrumpido por la codicia

por la malicia y el desgaste de la prudencia

pero me persiguen las fronteras de lengua

las barreras de filosofías y sus academias

y la facultad de mi canto queda en cuestión

sin pedigrí ni diploma que autorice

mi existencia y mi derecho a patalear

en mi eterno berrinche contra la injusticia

contra la pericia y la avaricia

en mi porfía desnudo el alma

para luchar desde mi pobre humanidad

de carne y hueso, de risa y lagrima

canto que sí podemos hacer mas,

porque la mujer es mucho más

porque el hombre es mucho más

que un saco de carne y hueso

al mando de algún mequetrefe

tildo chilena mi porfía, mi ahínco y nostalgia

el deseo de orden incumplido será gringo quizás

pero más que nada soy mujer habitante de la tierra

y por ende perpetua dueña de mi aire y de mi fuego

sin fronteras ni barreras, sin candados ni paredes

en mi vuelo peregrino por la vida

—Marci Valdivieso

Mensajero de la Vida

2007-09-10T15:22:00.000-07:00

La llegada del Papa a Chile en el 87 dió pie para denuncias, protestas y gestiones políticas ya que los ojos del mundo estaban puestos sobre Chile. El Papa enclaustrado dentro de su burbuja ambulante saludaba al público mientras que las organizaciones de derechos humanos cantaban “Que diría el Santo Padre, que vive en Roma, que le estan degollando a su paloma”. Sin embargo, ante el horror de cierta clase de chilenos, la única vez que el Papa ha probado el gusto y ardor de las gases lacrimógenas fue el viernes 3 de abril en el Parque O’Higgins. Y aunque ésto, y el despelote que quedó, puede ser causa de risa, se sospecha que fue provocación de derecha lo que lo engatilló y el pueblo hastiado el que se sumó a la parada. Como muchas cosas en la vida, hay que preguntarse “Quien gana?” Estaba programado para esa misma noche una reunion entre el Papa y el MDP.

La reunion nunca se llevó a cabo.

Fui al Parque O’Higgins ese día con mi camara Pentax K-1000 y El Tatán, alias el Kamikaze, amigo reportero gráfico conocido por su afán de tomar las fotos de los guanacos y los tanques hasta cuando casi le vienen por encima. Nos registran a todos antes de entrar. No permiten banderas partidarias, ni pintura, ni nada. Había tanta gente, que pusieron cercos de aluminio para mantener abierto corredores para caminar.

Por todos lados se ven jovenes con delantales amarillos, la Guardia Papal.

De repente oigo un clamor y miro al cerro a la derecha del escenario y veo un grupo de gente tirando piedras hacia el escenario donde estaban ubicado los periodistas. (A los periodistas? Porque?) Justo ese momento, y a la vista de todos, un escuadrón de carabineros se sube al cerro con palos en las manos y empiezan a pegarle a la gente que había quedado allí.

Al público ésto los enfurece y viene una ola masiva de gente hacia adelante corriendo, y luego vinieron avanzando los pacos y la ola masiva retrocede, una masa, un tsunami de gente vienen ahora devuelta. No quedaba otra que correr. En una de esas casi nos tropezamos con una de las tres imensas fogatas que se habian armado casi magicamente. (De donde salió la madera pa’ eso?) Ese maremoto de gente ocurrió así como tres veces. A la tercera tenía miedo de ser atropellada y me subí con Tatan a una montaña de gente sujetada a un palo poste. Cuando pudimos, corrimos para el costado, subiéndonos a otro cerro para poder ver mejor. Salieron banderas chilenas pintadas con aerosol MDP. (Que raro?!)

Desde ese mismo lugar se juntó una línea de curas tomados de la mano y levantaron sus brazos para calmar a la población. La gente estaba en otra.

La gente rompía los asientos de madera y metal y los arrastraba para hacer barricadas en las entradas del Parque. Rompían el pavimento para tirar piedras a los pacos. De repente entraron dos zorillos al centro del parque y empezaron a perseguir a la gente. Salió un cura al medio tratando de parar a los zorillos, le llegó un piedrazo a la cabeza manchando su sotana de sangre. Los zorillos se confundieron y chocaron de frente. Clamor universal como goal del futbol!

Miro a mi lado y se me perdió el Tatan pero veo a lo lejos un grupo de reporteros gráficos corriendo hacia atrás del parque. Decido tratar de alcanzarlos. Veo que estan todos corriendo agachados, yo hago lo mismo, sín saber porque. Oigo silbidos por mis oídos. Todavía no sé porque. Veo a lo lejos unos tipos de chaqueta corta color azul marino, de pelo corto (policia civil!) apuntando hacia nosotros con algo en la mano.

Veo caer a tres metros a Maria Olga, fotógrafa de la revista Análisis. Llegamos como cuatro fotografos a su lado inmediatamente y luego otros más que forman barrera contra la masa de mirones que sin darse cuenta pueden quitarle el oxígeno. Le amarramos el brazo (por donde salió la bala) con un pañuelo. La estamos por levantar y los mirones salen corriendo. (Que pasa?) Viene un guanaco. Los fotografos nos quedamos. Un fotografo de Alemania tiene banderita blanca, se para adelante nuestro mirando hacia el guanaco y la flamea diciendo como Don Otto “no nos va a pasar nada, somos periodistas”. El guanaco nos viene encima. Cerramos nuestros ojos y sujetamos a Maria Olga, y nos echan el agua ácida con el lanza aguas, empujándonos casi cinco metros.

Sin poder abrir los ojos, siento que me toman de un brazo y me llevan. Estoy en el toldo de la Cruz Roja. Maria Olga ya esta en la ambulancia. Supe después que su marido tuvo que amenazar al chofer de la ambulancia para que la llevaran al hospital porque la bala le entró al lado del corazón. Alguien me dice que tenga cuidado a la salida porque estan confiscando los rollos de película.

Con los ojos todavia ardientes, vuelvo hacia el centro del parque en busqueda de los demas periodistas. Me encuentro con el Chino Lopez, su nariz hecho polvo. Un paco le reventó el palo contra su cámara adelante su cara. Lo estan llevando a la ambulancia tambien. Otra cámara manchada de sangre.

Voy caminando entre la marea de gente, la sirenas, las barricadas y me pongo a llorar.

Recien me estoy dando cuenta de la suerte que tuve. Y lloro por eso. Y lloro porque estoy llorando por mi suerte cuando otros no la tuvieron. Y lloro por tanta impotencia y tanta rabia acumulada, y lloro porque despues de todos estos años, todos esos crímenes, la mayoría de la gente o sea, la otra mitad de la cancha, sigue junto al papa cantando “Mensajero de la Vida, Peregrino de la Paz” lloro porque estoy triste y lloro porque pienso que algo debe andar mal en mi si no veo lo bueno de tanta pelotera, pero no lo veo asi…

Un niño de no más de 12 años me ve llorando mientras camino entre las barricadas y como dándome un regalo me pasa …. una piedra….

—Lisa Milos

Domingo 9 de septiembre

2007-09-10T13:31:00.000-07:00

Contando la Historia

2007-09-10T02:08:00.000-07:00

Nosotros que aún seguimos vivos
Llevamos la carga de contar la historia.
Porque la vida que seguimos,
Esta realidad,
Se divide en tajadas, se descuartiza, se acecina
Con lagrimas inesperadas.
Brotan de cantos olvidados,
Como arrullos penosos
Invocados con deseos de venganza
Y Traicionados a la vez por una amnesia colectiva.

Sin embargo, la historia tiene que contarse
Porque el tiempo es implacable
Y la memoria es fragil…tan fragil.

Tejo las pequenas piezas
Cada hilo, una cuerda, un musculo, un pedazo de carne
Acalambrado para rehacer el mundo que alguna vez fue.

Yo canto esas canciones,
Y las palabras, esas palabras tan preciosas,
Desterradas, arrancadas, relegadas a morir lejos
Vuelven como cadaveres resucitados en comerciales de Ford
Y en medio de mi rabia, mi voz se ha olvidado como cantar

Como una piedra. Se atora en mi garganta.
No hay manera de hacer esos sonidos.
Solo puedo escucharlos en mi corazon.

Y sin embargo la historia tiene que contarse.
Porque antes,
antes que existiera este mundo de calculos frios y de ataques repetitivos,
Había calidéz.
Aún inmersos en el calor enceguecedor de esa guerra,
Hubieron manos que se sujetaban,
Ojos que lloraban por los niños quemados por el napalm al otro lado del mar,
Y corazones que se horrorizaron por el verdadero rostro blanco del odio.

Los mentirosos televisivos perdieron sus mascaras
Y la verdad con todo su adolorido coraje
Corría por nuestra sangre joven.

A Nuestros ojos jovenes no importaban de qué color era la bandera
Solo que estaba adornando el ataúd
Del hermano, padre o hijo de alguien.

Al contar esta historia yo no estoy sola.
Hay miles de socios que en silencio
Me jalan desde distintas direcciones
Cada uno con sus propios sueños de las vidas que llevaron
Del futuro que debería haber sido
Y de las enseñanzas que ya deberiamos haber aprendido.

—Lisa Milos

Telling the Story

2007-09-10T01:05:00.000-07:00

Those of us who are still alive
carry the burden of telling the story.
Because this life that we follow,
this reality,
gets sliced, quartered and salted
by unexpected tears,
from songs long forgotten,
like haunting lullabyes
conjured up by vengeful hopes
betrayed by the collective amnesia.

Yet the story must be told.
Because time is relentless
and memory is fragile...so fragile.

I weave bits and pieces,
each strand, a chord, a muscle, a piece of flesh,
tightened to remake the world that once was.

I sing those songs,
and the words, oh those precious words,
uprooted, torn out, taken someplace to die
have come back like zombies in Ford commercials.
And in my rage, my voice has forgotten how to sing.

Like a Rock. It gets stuck in my throat.
There’s no way to make those sounds.
I can only hear them in my heart.

Yet the story must be told.
Because before this cold, calculated first, second, third strike world,
there was warmth.
Even amidst the blinding heat of that war,
there were hands that held eachother,
eyes that cried for napalmed children across the sea,
and hearts that became horrified by the true white face of hatred.

Televised lairs lost their masks
and truth in all its painful courage
ran in our young blood.

Our young eyes cared not what color the flag
only that they were draped over coffins
of someone’s brother, father, son.

In telling this story I am not alone.
Thousands of silent partners
pull me from different directions,
each with their own dreams of the lives they led,
of the future that should have been,
and of the lessons we should have learned by now.

—Lisa Milos

Sabado 8 de septiembre

2007-09-09T16:13:00.000-07:00

One of the many faces of Dennis Maxwell's rat. Una de las muchas caras de la instalación de Dennis Maxwell.

Peskador looking serious. El Peskador se pone serio.

Alfonso Jaramillo's cocoon against genoicide with other elements from the installation in the background. Elementos de la instalacion de Alfonso Jaramillo.

Ariel Lopez and Dennis Maxwell share a laugh and a mate after the screening of Horcón al sur de ninguna parte. Ariel y Dennis comparten una risa y un matecito después de la pelicula.

Horacio Mena faces the mind eating rat. Horacio Mena se enfrenta a la rata devoradora de mentes.

Mira and "El Primo" enjoying a mate. Mirna y "el primo" tomando matecito.

Maria Loreto Ramirez and Evelio Roque from Los Materos take in some art. Maria Loreto Ramirez y Evelio Roque disfrutan el arte.

Alvaro Lagos stands next to one of his photographs from Ecuador. Alvaro Lagos junto a una de sus fotos de Ecuador.

Maria Elena and Monica run out of tea. A Maria Elena y Monica se les acaba el "tecito."

All photos by Alonso Jaramillo

La apertura, 7 de septiembre

2007-09-09T12:11:00.000-07:00

En el Melting point es el escenario

foto por J.A.Galloso

La gente empieza a llegar

Empezando la cosa...
foto por J.A.Galloso

Gente disfrutando el show....

Admirando las pinturas de Peskador...

foto por J.A.Galloso

Nuestras bellas baristas...

foto por J.A.Galloso

Rat eater mind intalacion fue un suceso...

Gente linda apoyando y resistiendo...
foto por J.A.Galloso

1984 Orwell?

foto por J.A.Galloso

Roberto Leni leyendo su prosa guerrillera...
foto por J.A.Galloso

Jovenes desenmascarando a la bestia
foto por J.A.Galloso

Chilefornia un programa de radio :

projecto de Marcia y Ricardo Valdivieso

En el MELTING POINT , Ariel Lopez y Dennis Maxwell

Foto collage en progreso de Indira Urrutia, vale mencionar que este pieza esta siendo creada en el momento del evento, para ser quemada el 11 de sept.

Los Materos en acción

Jairo, Millaray, Amaro y Takuri Rodriguez al sonido de la quena.

Alvaro Lagos y Ariel lopez brindando ...

Miryam saboreando a Peskador...

Los loquetes Kakolactico, Ariel y Alfonso "Poncho" Jaramillo

Dennis Maxwell y Yael Martinez en la instalacion "rat eat minder"

Axel Herrara y Ricardo Valdivieso .

TONIGHT: Noche de Penna music jam and two movies from the Chilean disapora

2007-09-08T16:13:00.000-07:00

Opening night was an astounding success. Thanks to everyone that came out to celebrate the beginning of our event for that incredible outpouring of support! Check back for photos from the opening!

Join us tonight for our night of peña, chilean style music jam and movie screenings. Its open to everyone so bring your instruments and good energy!

MOVIES FROM THE CHILEAN DIASPORA: 8pm

Horcón, al sur de ninguna parte
de Rodrigo Gonçalves
(90min. IN SPANISH)

Two 911s in a Lifetime
(12min. In Spanish with English subtitles)
de Ariel Lopez

NOCHE DE PEÑA: 10pm - ????
Open music jam! Bring your acoustic and percussion instruments.

Indira Urrutia

2007-09-05T11:53:00.000-07:00

I was born in La Calera Chile and graduated from Southern Connecticut State University in 1994. Since then I have been following my passion for photography through explorations into other formats such as mixed media, installation photography and video. My passion as a teacher also allows me to transmit the importance of art expression in a free and safe environment for my students and myself.

Photography is my own therapy. Art allows me the freedom to explore my inner self juxtaposed to my outer self".

For nine eleven squared I will be building a collage through out the event. On Tuesday, September 11. This piece will be burned. I am dedicating this to all of those that suffered by the consequence of 9/11

"Illusion"
Live installation @ The Young Museum

This collage was built within four hours. After the event, the piece was burned.

"it was just an illusion"

Interview with Roberto Arroyo

2007-09-04T13:37:00.000-07:00

Le Rire Magazine:Although art and war seem like opposites at first sight -the former representing beauty, universality, a gift and the latter horror, nationalism and theft- maybe their relationship is more substantial than we think. How do you explain this relationship? Does it limit itself to the vision/perception that art proposes of one of the main realities of humanity: war?

Roberto Arroyo: If I perceived art only as a contemplation of objective and subjective realities in a non-participatory way evidently there would be no link between art and war and it is obvious that there is a type of artist that operates that way, that manifests his or her self, who gives of him or her self in that way and who renounces to what art is called to be, artists who place themselves on a pedestal and who live in their own limbo. Yet for the artists who have suffered the horrors of war all over the world there is no impartial vision of facts and in that sense one necessarily involves oneself in a setting where violence occupies a big deal of our settings but where also the signs of love and solidarity that are born in those contexts have a place.

In my experience of a war that we never declared but that was imposed on us, the whole concept of war is questionable. In the case of Chile and of many other dictatorships in Indo South America, unilateral massacres and genocide characterized these structures of violence, and violence modified our lives completely, forever, and as artists we had to become inevitably involved in this madness of horror. I do not agree with the idea that art represents beauty or universality or a gift. That would restrict the artist and his occupation to a merely passive role: beauty is a very ambiguous and arbitrary concept, each day universality seems more like the concepts of globalization that end up amputating any indication of difference and which oppress under the search for consensus, and a “gift” is a religious concept that can easily place us in a messianic position as artists that takes away power from the great effort that the artist makes to decipher the signs of the times.

I would rather say that the artist has a different ethic and sensibility (not better, not worse), which allow him to see and to act differently, an ethic and sensibility that are forged from a profound questioning of life and death. This questioning is also felt with greater force and radicality. Wars and oppressions, dictatorships and fascisms, and also “guarded democracies”, at all times necessarily generate in us a conscientization and a positioning within these realities in which a position of ambiguity is repulsive.

I can add that from my work experience in defense of human rights in my country as well as in my artistic work, which are inseparable from each other, injustice, the abuse of human dignity, torture, forced disappearance, institutionalized lying, force us to choose a position and in that choice what we see, what we express, the signs we choose, the human actions that we opt for in order to live are necessarily revolutionary and tie us to others who are in a similar position, for example what today would be our link to marginality and the marginalized of the whole world.

“Since generals do not die on their horses anymore, painters are not forced to die at their easels”. How does this thought/raillery by Marcel Duchamp inspire you?

Generals no longer die on their horses, today they don’t even die in their offices or their businesses, they die retired, with full benefits under the law or from their prosperous industries. On the other hand painters are no longer forced to die at their easels, they die obliged to satisfy the rules of the market and of the art merchants, on their knees to the comparative advantages of success.

It becomes evident that Marcel Duchamp’s thought and action is still current in the original sense of what this thought inspires me, the understanding that the artist as anyone else that becomes conscious that there exist organized ways to fabricate injustice, of provoking pain and exploitation, has no choice other than permanent rebellion, of assuming a position and from that look, to act with honesty. Is it possible to obviate that the prosperity of the transnationals of power is still proportional to the degrees of exploitation of the poor countries? Eduardo Galeano, prominent thinker of our South America in a revealing recent report clarifies on this subject: “ The world demonstrates how human it is by setting aside, every minute, one million dollars toward military spending. Wars are now humanitarian missions, Rambo is the Erasmus of this new humanism. According to what war correspondents have told, Russian soldiers, who reduced the city of Grozny to ashes, had Rambo for a model…Putin has applied the same humanitarian treatment [to Chechnya] that NATO had applied to Yugoslavia shortly before. The therapy comes from the Vietnam War. Since that time, the great powers, who share the right to kill with impunity, have made great progress in the art of killing from a distance, without the risk of dying, and technology, put at the service of hypocrisy, allows the butchers to not see their victims, who are also not seen by public opinion...” (Excerpted from ¿Humaniqué? By Eduardo Galeano, January 2000)

Artists, for the most part, had rather not get involved in politics. Often, they declare having superior preoccupations, far from down to earth politics, while others consider the act of painting or sculpting as a political deed in itself. On the other hand, many artists are acquainted with and will sometimes profit from, the political power, which in turn has an important influence on art, or at least on what is shown. Following this, how would you describe the relationship between art and politicians?

The art profession is without a doubt in itself a political act, from the moment one chooses to look through art’s tools to the personal world and the world that surrounds us, which are intricately related. The Chilean painter Alberto Perez had a way of describing this situation, he said that “by living the real we give course to all possibilities of marvelous imagination” and I agree with this solidarious vision of art. The vision of death as of life, the vision of love as of life are not the patrimony of individuality, they are also a collective experience, and in that context the political is unavoidable, it is born almost as a consequence of becoming aware of our human factor.

Those who make an art that is alienated from this human dimension act with inhuman intellectual arrogance. They are the ones that have everything clear, those who declare having superior preoccupations because they truly believe themselves superior to others, isolated in a fictional world. “If the world was clear, art would not exist” Camus told us a long time ago.

It’s true that there are artists that profit from political power and who from that space enjoy the benefits that those spaces grant them. This is happening in a great part of the world. It is difficult to generalize, but it happens, a prize, a fellowship often buys silence and a portion of artists, in all latitudes accepts that.

The relationship between art and politicians is even more conflictive. In my experience in Chile, artists involved ourselves strongly in the process of liberation of our country from the military dictatorship. We were without a doubt an important group in our country’s cultural, social and political reconstruction. But nonetheless the political leaders once they recovered small spaces of democratization again relegated the artists to marginality, dividing the cultural movement. Experience is cruel but also meaningful. My natural political space is in marginality. Living in and looking from the point of view of a person who is a “marginal” helps to better distinguish the existing differences between the cultural structures that serve the liars (collective amnesia, manipulation of public opinion, social indifference, globalization of human exploitation and of culture). Camus believed that you had to be on the side of those who suffer history and that is a great truth, but that “truth” is more complete when one is coming from that experience and one breaks those structures to live in spaces of humanity that just because they exist defy the structures of oppression and deceit.

When talking of intellectuals’ responsibilities, one sometimes deplores their absence from major issues facing our societies. Some prophesize, others hope for, the end of ideologies when it might be more relevant to notice, albeit in various degrees, the decline in social participation and the disbelief in activism. In this debate, how does art come in to play, how does the artist position himself or herself?

I have a different impression. As far as I am concerned, what happens is a progressive distancing of people from a type of activism, or of certain kinds of activism that have turned out to be a failure. In that sense my own self-critical evaluation of my participation in varied groups of pacifist activism, is that in general our actions have not managed to substantially modify the structures of violence and oppression. For example, the innumerable existing pacifist or social development organizations of the world are, in my view, functional to the systems of exploitation, replacing the social activities that States must carry out, without confronting the causes that originate inequality. The power structures know and take advantage of this weakness of pacifist activism because they know perfectly well the limitations that our groups have. I support the anti-systemic, autonomous, anarchic groups because human relationships emerge from them that the structured conceptions (of power and of alternatives) cannot even visualize, they are perhaps the only spaces of freedom in a world effectively controlled by a machinery for the destruction of a large part of humanity. These spaces of freedom are minority, marginal, like the cultures of the original peoples who still survive centuries of programmed extermination. In that present, in that future I hold up my art and I collaborate. As Galeano says, “the indian cultures are the most future cultures of all. After all, they have been miraculously capable of perpetuating humanity’s identity with nature, while the whole world persists in committing suicide. Those cultures that the dominant culture considers non-cultures, refuse to violate the earth: they do not reduce it to merchandize, they do not turn it into an object for use and abuse: the sacred earth is not a thing.”

“How is it possible, for example, to behave on the one hand as if nothing in the world were more important than literature while, on the other hand, it is impossible not to see around us that people struggle against hunger and are obliged to consider that the most thing for them, is what they eat at the end of the month? He [the author] runs into a paradox: he who only wants to write for those who are hungry discovers that only those who have enough to eat have the leisure to notice his existence” wrote the author Stig Dagerman. How do you position yourself as an artist? Which remarks and judgements does this quotation raise?

The reality of artists, at least those that I know and relate with, is that the majority is living in complete marginality. That is, on the side of those who are hungry and whose basic necessities go unmet. In this sense the experience of doing art under a dictatorship and doing art in a democracy, for those that are marginalized is the same, yes, it’s curious but it is the same because the “pigs with wings”, like Pink Floyd used to say, still do not see what is happening around them, because it would evidently spoil their lunch.

We are therefore part of that reality of poverty and precariousness and that is an important source of our growth as artists. It is precisely that excessive dose of reality that bothers the rich, the ones that have the weapons, the ones that exploit with unfair economic systems and who favor ignorance. Power profoundly hates the real, hates who does not accept the shit served in sugarcoated dosages, hates who does not bow down their head or kneels. The authorities hate all that is too real.

In reality one always manages to bring out the best of oneself, in the best conditions possible. For example, in my case, not having access to the “great galleries”, to the great spaces for the commercialization of art, I have privileged the showing of my work and the human exchange in spaces that are close to people. In the case of my series “Love against forgetting”, which deals with the subject of the disappeared, the premiere was held at the Headquarters of CODEPU, the Commission for the Rights of the People, in Valdivia, Chile, where those in attendance were the wives and children and friends of the disappeared detainees. In Sheffield, England, the show was held in a Union Hall, and so on. Obviously these spaces are not “lucrative” but they are the motors of our activity and they give meaning to the work. Moreover, it is natural that as an artist one considers that it would be healthy and beautiful that our work would someday give us the possibility to provide us bread and sustenance. Unfortunately for the great majority of artists that is not the reality.

But these are not times to stare at our bellybuttons, it is not the time now nor has it ever been. The more brutal reality is that on our side, the side of the “losers” there is as much hunger for the many as riches for the few, and even though it is true that some of us are trying to build humanity from the side of the despised of history, there are also artists that help construct history from the oppressors’ side, as translators of their shit, as traitors to themselves, as servants of the transnationalization of lies, as creators of their advertising images, as supporters of their “moral” and “ethical” discourse, as salesmen of a “universal” world culture that does not question, that consolidates obedient ways of seeing. As icons of what they are willing to withstand inside the limits of the free market, because that sells, because that gives status, because that gives security.

What would you like to add on this theme of art and war, on the positive and negative aspects of the relationship between art and politics?

I would only say that in my experience and that of the many collectives that I have been a member, it is possible to visualize and construct different ways of life. This demands much of oneself, changes that are extremely difficult to sustain in daily life, sometimes unbearable risks, because to enter the side of uncertainty is difficult, but still it is the only option that I have constructed for myself, with a light hope that this revolution that one experiments in oneself transgresses my limits and excites others, connected to others that live similar processes throughout the world. I cannot predict that this will serve for others, to each his own, but to enter into uncertainty is the only thing that has generated in me a certain intuition that is appropriate and insolent to observe the fissures of this inhuman system that we live in, and from there hit the blows that are necessary on the faces of the liars. Julio Cortazar, Argentinean writer, says it better than me: “Better to be what one is, to say that which burns the tongue and the stomach, there will always be someone who understands that language that from the bottom comes.” I aspire to this attitude for living the art profession.

From Le Rire Magazine (France July 2000)

Peskador: La revolución, ¿moda o necesidad?

2007-09-03T21:26:00.000-07:00

J. A. Galloso: La revolución, ¿es moda o necesidad?

Peskador:La revolución para mí es un cambio drástico en todo sentido. Yo creo que el concepto estricto de gobierno hacia los ciudadanos está totalmente perdido. Estados Unidos está tratando de imponer su sistema en el resto del mundo, y muchos países lo han tomado y se ha convertido en aliados, incluyendo a Chile. Y claro, revolución, es una palabra pegadora y pegajosa, y se presta mucho para usarla como slogan. Pero la revolución debe ser en todo sentido, no es la idea de la Revolución Cubana, Castrista, de los huevones bajando de la sierra, esa huevada ya fue, las revoluciones que vendrán son diferentes. Y mira todas las revoluciones que el hombre ha tenido a lo largo de la historia, la Francesa, las Independencias de Latinoamérica, la Revolución Bolchevique, la Revolución China, y en todas corrió sangre, que es lo que nadie quiere, pero parece que la revolución va ligada a la sangre, porque hay gente que se opone y otros que no se oponen al cambio, y no estoy emitiendo un juicio, no estoy diciendo que es bueno o malo, estoy formando un contexto, ahora, dentro de ese contexto, yo creo que si tiene que haber una revolución, no justifico ninguno de esos medios… …bueno no se, aquí uno se pone un poco mas utópico y piensa en la sociedad perfecta, pero eso no existe, somos imperfectos y siempre existe un huevón que no esta de acuerdo, siempre hay un huevón que esta reclamando, entonces, ¿hasta que punto una revolución puede funcionar?

Pero yo creo que si puede funcionar, siempre tengo ese lado optimista, si no, para que ir contra la corriente, si no, mejor me uno a ellos y me rindo, pero yo tengo la esperanza de que si puede funcionar, ¿cómo?, pues con educación y con respeto, ¿cómo la gente puede saber si no sabe?, y el respeto se puede enseñar, viene con la educación. Y hay que cambiar el sistema económico para que haya justicia, mientras haya esta desigualdad no va a haber paz. Entonces, yo voy por una revolución a nivel mundial, a nivel humana, yo no voy por ningún partido ni por nadie, yo no me quemo por nadie. Puedo emitir juicios pero yo no me considero nada, en ese sentido con lo que más me podría identificar es con la Anarquía, palabra a la que muchos le tienen miedo, pero yo no, la Anarquía tiene una connotación negativa, pero la Anarquía es lo opuesto a la violencia, es la fraternidad, la igualdad, la unidad, el respeto, los buenos valores, es la tolerancia sin divisiones. No tiene nada que ver con la violencia y el desorden por el desorden, la esencia del anarquismo es la libertad la formación de pequeñas comunidades, el intercambio. Lo que pasa es que se ha impuesto un sistema y nos han hecho creer que es el único que puede funcionar, y que la justicia no existe, y nos han hecho creer que no se puede cambiar, pero claro que se puede cambiar, la historia esta llena de ejemplos, si no estaríamos todavía en la época de los romanos, aunque ahora no hay mucha diferencia entre los romanos y los del Pentágono, es algo así como que los pretorianos han vuelto.

Yo creo en la libertad, pero la libertad que no te perjudique, creo en la libertad de opciones, de creencias, de tendencias en todo, y respeto todo eso, y creo en el respeto para todos lados, si no, no funciona, Y yo digo, revolución, sí, urgente, pero yo no tengo la respuesta, sin embargo, veo una rebelión por venir, poco a poco, porque la huevada no está mejorando, porque si dijéramos, las cosas están mejorando, se está ganando la guerra contra el terrorismo, y hay menos terrorismo, y hay más para comer y la gente está más contenta, y hay más niños en los colegios, y los ancianos pueden ir a los hospitales y tener medicinas, que son cosas justas, nada del otro mundo, es lo que dice la primera página de cualquier constitución, son huevadas esenciales, no estamos pidiendo revolución para destruir el mundo. Revolución es justicia.

Hay ocho naciones que controlan el mundo y que ocupan los recursos del resto del mundo, ocho naciones que viven chupándole la sangre al resto del planeta, entonces es necesario un cambio, de cómo se hace y cómo se logra y cuánta sangre correrá, ¿quién lo sabe?, pero ahora ya está corriendo sangre a diario, todos los días cientos de huevotes mutilados, familias, niños. Vi unas fotos, el otro día, de niños en el Libano y yo que soy padre, te digo, es terrible, y esas imágenes me llenaron de rabia, con qué cara matan a vista y paciencia del mundo y nadie dice nada, y todos siguen comprando. Este país está en guerra y para nosotros la guerra no existe, para nosotros la guerra es un clip en el internet, los únicos que sienten la guerra son los familiares de los soldados que mueren. Necesitamos un cambio ...

Extracto entrevista con el escritor J. A. Galloso (2006)

Alfonso Jaramillo: Versus Artifice

2007-08-31T20:54:00.001-07:00

I like to work with found objects, both natural and artificial, in order to explore the social landscape. I focus on objects that have a very personal or collective emotional content that is readily accessible, such as human hair, and then integrate it as raw material into installation and graphic work. Versus Artifice is an on-going project that documents, through photographs, a series of interventions juxtapozing natural and artifcial elements. I will be showing some of these photos along with an installation I am building for the show. I won't give away what it is but I will say that it explores connections between five cases of genocide in the 20th and 21st centuries, including the Chilean coup of 1973 and the demolition of the World Trade Center in 2001.

Alfonso Jaramillo is a visual artist and graphic designer based in Berkeley, California. Over the last ten years, Alfonso has designed for a number of organizations and institutions that serve the public interest and work toward both socially and economically sustainable forms of development through his practice, iarte design. With a multidisciplinary, investigative approach to design, drawing on social as well as visual research methods, Alfonso has integrated anthropological tactics into his creative arsenal and received critical praise for his experimental and participatory design techniques. A native of Chile, Alfonso lived in exile with his family in Mexico from 1976 to 1982, and in the US, as an illegal immigrant until 1988 when he returned to Chile for the first time after 12 years. He moved to the Bay Area in 1991 to attend UC Berkeley where he studied political economy and anthropology. Alfonso attended graduate school at the California College of the Arts in San Francisco in 2003 and is currently design editor for Greater Good Magazine.

Alvaro Lagos: Volviendo a Ecuador

2007-08-31T11:31:00.000-07:00

Estan son fotos de la provincia de Guayas, Ecuador, pais al que llegamos huyendo del golpe militar en Chile del 11 de septiembre de 1973, junto con mi madre y hermanos.Yo regresé a Chile en el año 1980 a raíz del asesinato de mi padre a manos de la dictadura militar (Antonio Lagos Rodriguez, miembro de Movimiento de Izquierda Revolucionaria, MIR). No es si no hasta enero del 2007 que regresé nuevamente a Ecuador, pais donde aprendí a escribir leer y hasta bailar junto a muchas otras cosas mas, reencontrandome asi con el pais donde quedó parte de mi infancia y tambien mi madre.

Fue un bellisimo reencuentro despues de 27 años y precisamente, por medio de estas fotos, quiero que conozcan a este noble y fraterno pueblo que sigue brindando su mano generosa a muchos chilen@s.

Dennis Maxwell: Mind Eating Rat

2007-08-30T23:19:00.001-07:00

This rat would eat anything you put in front of it. It has no compassion. It would eat itself if it were distracted. Don’t get too close because it will jump straight at your face and eat your nose, ears, and then devour your eyes with joy. It’s a smart animal; it knows that if it destroys all your senses, it will be able to control you completely. But its favorite course is your brain; it won’t stop until it has gulped down every last one of your thoughts…

Roberto Leni: Dogs are the Beloved of their Masters

2007-08-29T14:31:00.000-07:00

Whenever we took a Sunday stroll around the Plaza, my father would comment that dogs always look like their owners. He would make eyes at us children holding on to his hands and would sometimes even point at the first victim that approached us--a muscular athletic looking man with dark, thick and frowning eye brows, carrying a pit-bull on a leather leash. My father would start laughing and my mother would look away, trying to get us interested in the colors of leaves, or a beautifully shaped sugar-cotton cloud in the sky.

There was never enough money to pay for a cotton candy for each of the four of us kids, but the thought of one came to mind immediately, and we all asked for it in unison. The others, the older brothers and sisters, would never even ask for a cotton candy even if they did want one, themselves. I guess this is because they knew there was only enough for two at most and we, the little ones, would have to share.

At the end though, the older sisters and brothers managed to grab a piece and so did my father, who got us to look away from the candy while he pointed to a tall and skinny old woman with a long nose and white hair up in a puffy bun, carrying a poodle fresh out of the hair saloon as white as a cloud, on a pink color leash.

We also had a dog. It was a big dog, or as big as a common street dog gets. He showered only when it rained. "Negro" was his name and he loved to bathe when we all had a chance to go to the beach. He was a hard working dog. He kept us safe, entertained our games, helped my mother when it came time to round the chickens, and accompanied my father in his long night walks when money was short.

Negro mistrusted men in uniforms. He was well trained and would only bark at the smell of fear. Negro was a smart dog and saw the potential for violence in military men. A breed of dogs themselves, these dogs were only held back by the leash in the hands of men in suits.

Negro met a tragic death in September 1973. He was shot eleven times in the head when he run full-force barking at a group of military men in the back of a truck, patrolling to keep order in the streets after a state of siege was declared. The entire family wept, we mourned Negro's death in silence and shared stories about his mischief. We never acquired another dog, as the world is not a safe place for them.

I have not always agreed with my father. I've seen many exceptions to the rule of owners and their dogs. Even so, one can't deny that owners and their dogs usually have the same hair color, shape of body, stamina, and swing in their walk. Nonetheless, I strongly concur with his point that dogs are the beloved of their masters, and will always mimic the masters' repression.

Writer Roberto Leni-Olivares’s family was exiled from their native Chile in 1976. His fiction, rich in contrasting images from his former country and his current one, explores issues of language, inter-culturalism, oppression and possibility. Leni-Olivares received his BA in Humanities and his MA in Writing & Consciousness at New College of California in San Francisco.

Peskador: Art & Soul

2007-08-28T11:19:00.000-07:00

I have always believed in art as an effective means of expanding the human conscience. It is one of the many forms of struggle against oppression, injustice, hunger, ignorance, and war, i.e. bad governance. My work represents a long process of internal search, and at the same time, it tries to represent the voices silenced through violence and indifference. It wants to trigger consciousness. It is an intelligent weapon with its own life, willing to fire ideas, dialogues and discussions for the development of our understanding as human beings. It is a tool of denouncement, reflection, criticism and recovery of our (amnesic) historic memory.

The core of my work is the human soul, its relation to its environment and its spiritual, physical and internal struggles. It proclaims union, respect, peace and solidarity. It is rebellious by nature and it struggles for social and internal change, and for a more just and worthy planet. Cheers to the rebels of the planet and to the indigenous and social struggles. Freedom is not a dream.

Pescador (Franz Fischer) is a self-taught artist born and raised under military dictatorship in Chile. He joined the cooperative printmaking workshop “Taller Artes Visuales” and participated in various group shows both nationally and internationally. He immigrated to the Bay Area in 1995 and has shown his work independently through solo and group shows.

Ariel Lopez: 2 911 en una Vida/2 911 in a lifetime

2007-08-27T23:59:00.000-07:00

2 9/11 in a lifetime explores ideas and feelings of ex political prisoners from Chile during Pinochet’s regime who now live in the San Francisco Bay Area. They analyze the tragedies of September 11 1973 in Chile and September 11 2001 in New York and the US government involvement.

The idea about this film came out after the tragedy of September 11 2001 in the United States and its date coincidence with the military coup in Chile on September 11 1973 backed by the US government. The film was part of a collective exhibition in September 2003 at the New College of California to remember the victims of the bloody dictatorship of general Augusto Pinochet after 30 years of the coup.

The film wants to show another side of our modern history brought up because of a coincidence that’s unveiled many different points of view about the role of the US government in the world nowadays.

“Dos Once de Septiembre en una vida” explora ideas y sentimientos de ex presos políticos y exiliados chilenos de la dictadura de Pinochet que ahora viven en San Francisco, California. Ellos analizan las tragedias del 11 de septiembre de 1973 en Chile y del 11 de Septiembre del 2001 en Estados Unidos y la intervención del gobierno estadounidense en ambos hechos.

Este video nace después de la tragedia del 11 de septiembre del 2001 y de la coincidencia de fechas con el golpe militar en Chile en 1973. Golpe que fue apoyado y financiado por el gobierno de los Estados Unidos. El video fue parte de una exhibición colectiva en el “New College of California” con le objetivo de recordar a las víctimas de la dictadura de Augusto Pinochet al cumplirse 30 años de ocurrido el golpe.

“Dos once de septiembre en una vida” fue recientemente premiado como el mejor cortometraje sobre política en Latinoamérica en el “Festival de Cine Latino de San Francisco”.

Original tiltle: “ Dos once de septiembre en una vida”
Title in English: “Two 9/11 in a lifetime”
Running time: 12:08/
Year: 2003
Director: Ariel López

Screening on saturday, Sept. 8, 8pm along with Rodrigo Gonçalves' film, Horcón al sur de ninguna parte.

Roberto Arroyo: Survivor of Chilean coup tells tale

2007-08-27T16:27:00.000-07:00

EUGENE, Ore. — Coup d'etat in Chile in the 1970s forced University of Oregon international student Robert Arroyo into hiding three times and eventually inspired him to join a human rights group in which he helped uncover graves to identify the dead. Arroyo gave his presentation, "Love Against Forgetting: In Solidarity Against Hate," entirely in Spanish with a translator who spoke English.

"I want to start this presentation by saying that this experience isn't something that I have studied, but I have lived," Arroyo said through the translator.

Arroyo was born in Temuco, Chile, and grew up in a neighboring town called Valdivia. Military coups occurred in the 1970s in the wake of foreign investment withdrawals in the Chilean economy. Arroyo lived through a military coup invasion of Chile's capital, Santiago, on Sept. 11, 1973, when he was 14 years old.

On that day, President Salvador Allende was killed when his palace was bombed during the coup. Communication lines were shut down and many political activists and leaders were made to "disappear" by being sent off to concentration camps and isolated islands.

Many of Arroyo's family and neighbors were taken to the camps to be tortured or killed, he said.

"My uncle, Anselmo Raguileo, was taken to a concentration camp that was located inside what used to be a soccer stadium," Arroyo said. "He was tortured there, and he never recovered from the experience."

Arroyo said he chose to fight the military through social and political activism, collecting food and teaching children in poor communities who had been particularly affected by the violence. He joined a protest music band and traveled around the country raising awareness of the social activist movement. Arroyo received death threats that required him to go into hiding three times, and he was deported to Europe twice, where he stayed with friends in Germany.

In 1978, Arroyo joined a human rights group called Vicarage of Solidarity, which was made up of several churches, and organized aid for people who had been tortured and the families of those who were exiled. Arroyo also worked with a group of archeologists who searched for missing people by digging up unmarked graves to discover the identities of the bodies.

"How could I weigh out the happiness of living with the pain of death?" Arroyo said. "But I was able to find joy and meaning through art and music."

After his experiences with violence in Chile, Arroyo traveled to Croatia and Bosnia to connect with people who had been exposed to the war in those countries and develop friendships through similar survivor experiences.

During the presentations, Arroyo showed slides of his drawings, which illustrated stories of people he knew during the war in Chile. The drawings also reflected his personal experiences and feelings about the violence of that time.

"It was not easy to be a pacifist," Arroyo said. "What I believe in is the power of people who are organized."

Arroyo came to the University through the International Cultural Scholarship Program, which provides support to international students. Each international student supported through the program participates in 80 hours of cultural programming each year by becoming involved with educational and diversity-oriented programs.

Kate Bodane, the International Service Program coordinator, said this was the first time weekly presentations have been held in the Resource Center that focused on international students' experiences with war in their home countries. The idea is to have students who have lived through wars discuss how it affected them personally, she said.

"This is a unique way for people to understand (the effects) of war on a personal level," Bodane said. "It gives a personal connection."

Arroyo, a University Ph.D. candidate, gave the fourth presentation in a series of six being held in the International Resource Center on Wednesdays. The next presentation will feature a speaker who will discuss his personal experiences with the war in Afghanistan.

Copyright ©2006 Oregon Daily Emerald via UWire

Horcon al sur de ninguna parte by Rodrigo Goncalves

2007-08-27T15:55:00.000-07:00

Ana, una europea nórdica, ejecutiva de éxito, de belleza fría y carácter pragmatico, sólo por compromiso y de pésima gana, viaja a Chile a cumplír el mandato de su padre: llevar sus cenizas mortuorias a la caleta de Horcón y entregar una inquietante pintura a un pescador llamado Pepe, que es el único que conoce el lugar preciso desde donde se deben esparcir las cenizas.

Todo un universo de recuerdos narrados por Pepe se le abrirá a ella envolviéndola en una aventura que la llevará a cambiar completamente su fría personalidad.

En el desenlace, Ana descifrará la pintura, sacando a la luz un oscuro secreto que llevará a la violenta muerte de Pepe, con el que habrá llegado a establecer una fogosa y fugaz relación.

Ana por fin entenderá quién fue realmente su padre y qué significó esa pequeña caleta para él y para la historia de Chile, la verdadera razón del exilio de su padre y por qué no volvió más, en vida, a Horcón.

Screening on saturday, Sept. 8, 8pm along with Ariel Lopez's short film, Two 911 in a Lifetime.

Alvaro Lagos: Artist and photo journalist

2007-08-25T23:04:00.000-07:00

Cuenten conmigo... que llevo 40 años resistiendo

2007-08-25T13:41:00.000-07:00

Haga como el Chapulin y apoye los espacios autonomos creativos. Nos vemos el viernes 7 de Septiembre a partir de las 8pm en Melting Point para inagurar el evento con musica de Los Materos, Duamuxa, DJ Kakoláctico, y DJ Sákate 1.

2007-08-25T12:05:00.000-07:00

Tus artistas anti-imperialistas te invitan a resistir y luchar.

Resistencia cultural

2007-08-24T18:43:00.000-07:00

RESISTENCIA CULTURAL

COLLECTIVO 9-11

ARTES VISUALES

VIDEO

INSTALACION

MUSICA

POESIA

ANTIMPERIALISMO

PENSAMIENTO CRITICO

Rafael Sanhueza : Rafaz en lucha

2007-08-14T09:02:00.000-07:00

Rafaz (Rafael Zanhueza) was born in Chile under military dictatorship and immigrated to the U.S. when he was nine years old. He holds a BFA in Painting from the San Francisco Art Institute. He is a free lance artist and has worked on numerous Bay Area community artistic projects, including murals, CD covers, and shirt designs. He is a founding member of the art group “Los Matamoscas.”

Nine Eleven Squared : Art Against Empire

2007-08-01T01:00:00.000-07:00

A week long art exhibit and cultural happening reflecting on the globalization of terror through creative explorations in art and music.

Melting Point Gallery
1340 Bryant Street
San Francisco, CA 94103

Friday, Sept. 7, 8pm
Opening reception with art,
live music, and spoken word
After-party with DJ Kaya
and DJ Sákate 1 starting at 10pm

Saturday, Sept. 8, 8pm
Film screenings
Horcón al sur de ninguna parte
de Rodrigo Gonçalves
Two 911s in a Lifetime
de Ariel Lopez

+Noche de Peña: Open jam
Starting at 10pm. Bring your acoustic and percussion instruments!

Sunday, Sept, 9, 7pm
Open readings: We invite the community and members of the Diaspora of all nations to join us for poetry, stories, spoken word and discussion.

Tuesday, Sept. 11. 7pm
Closing Ceremony and reception
with participatory art performance.
Music by Los Materos, kakoláctico, and Duamuxa

The exhibit was open from Friday September 7th through Tuesday September 11th, 2007.

Exhibiting Artists
Roberto Arroyo
Alfonso Jaramillo
Alvaro Lagos
Ariel Lopez
Yael Martinez
Dennis Maxwell
Mabel Negrete
Pescador
Loreto Sanhueza
Rafael Sanhueza
Indira Urrutia

Musicians
Axel Herrera
Alfonso Jaramillo
Maria Loreto Ramirez
Jairo Rodriguez
Marcia Valdivieso
Ricardo Valdivieso

DJs, VJs and electrobeats
DJ Sákate 1
Kakoláctico
VJ Cheo

Readings
Roberto Leni
Lisa Milos

Press contact: Marci Valdivieso
email: duamuxa@duamuxa.com