18h CL – BO
Resistencia y Poder
(Resistance and Power)
Moderator: Maria Luisa Murillo
CAB online programming for «In/Out Festival» proposes to give visual and sound answers to the motto «Resistance and Power», through 3 audiovisual 20-minute videos. Based on transdisciplinary research, the videos seek to formulate questions through the crossroads of contemporary art, philosophy, biology, and mathematics, to the dynamics of strength and flexibility inherent to resistance and power. Besides the audiovisual content, CAB will also presents a round table discussion a round the project concept with the participation of chilean artist Alejandra Perez, colombian curator and art historian Sara Garzón, biologist Pamela Santibañez and the artist and director of CAB, Maria Luisa Murillo.
CAB is a habitable museum and an art residency located in the main house of Puerto Yartou Old Timber Factory. It is a patrimonial recovery project that introduces technology on its museography, that promotes cultural and scientific tourism in Tierra del Fuego. It is a non-profit organization that strives to promote and spread the tangible and intangible heritage of the old Puerto Yartou lumber factory, its founder, and the territory of Tierra del Fuego. CAB is a platform for the encounter of different disciplines to think about southern territory through art and science.
Artists bios and links
elpueblodechina aka Alejandra Pérez will create for «In/Out Festival» an experimental sound work called «Proxies« that responds to the concepts of resistance and power through a non-hierarchy approach, focusing on the processes of sedimentation in domestic space.
Alejandra Pérez (Chile, 1972), lives and works in Punta Arenas, Chile. Bachelor of Aesthetics from the Universidad Católica de Chile, Master of Arts in Media Design from the Piet Zwart Institute in Rotterdam, Netherlands) and Doctor (Ph.D.) in Creative Media from the University of Westminster in London, England. Among the exhibitions stand out are: «Hacking Antarctica» at Museum of Contemporary Art MAC, Espacio Alta Tensión, Santiago (2019), and London Gallery West, London (2019). The exhibitions and collective residencies of the «Día de la Escucha» and sound art residency «Survival of the organisms», Concepción (2019), «Music and Hacking Conference» L’Institut de recherche et coordination acoustique / musique IRCAM, Paris (2017) are also highlighted.
El Peor de los Días aka Sebastián Orueta will present a musical/sound performance based on the last October 2019 resistance riots in Chile, with objects, instruments, materials, and voices.
Sebastián Orueta (Santiago de Chile, 1997) is a bachelor of the School of Arts of the Catholic University of Chile. During his short experience in the artistic world, he has managed to carry out his work in a broad and comprehensive way, adopting different media and artistic forms. Exploring audiovisual installations, sculptures, performance, objects, and sounds, Sebastian proposes an event that occurs in space to reflect on the role that our perception plays and mainly the sound in our environment.
RGB is a collective of Chilean visual artists. Formed by Isidora Correa (Santiago, 1977), Claudia Müller (Santiago, 1983) and Maria Luisa Murillo (Santiago, 1979), who will present a recorded performance of a sound and visual installation, through security cameras and experimental sounds. The collective of sound and media art RGB was born in quarantine, due to the dissatisfaction of the transfer of the visual arts to the virtual context, and the need to express themselves through a medium that makes sense, and allows new ways to connect individually and collectively, through the cross of experimental sound, installation, and performance.
Marine biologist from Universidad Austral de Chile and PhD in Ecology and Environmental Sciences from Montana State University, EEUU.
Ministerial Secretary for Science in the southern macro-zone of Chile.
PhD candidate in Art History and Visual Studies at Cornell University. She specializes in modern and contemporary Latin American art focusing specifically on issues relating to decoloniality, temporality, and indigenous ecocriticism.