"Towards the back it is an illuminated extension; towards the front it is darkness. It is like being on it turning one's back to the direction of the march, that is, to the purpose of it, and I say purpose since the force will be to go forward. I mean that this 'forward' -today dark- could be the solution or -if there is no real solution- the explanation of what has already been traveled." (Juan Emar, Umbral I, p. 6).
The ifa-gallery Stuttgart (Institute for Foreign Cultural Relations) in Germany and the Biennial of Media Arts in Chile, whose 15th version entitled "Umbral" (26.11.2021 - 31.03.2022) propose a transcultural connection inspired by the current planetary transitions, exploring the paradigms that emerge from the crises through the strategies and methodologies of curatorial practice, in a program we have called Constellations, and its first installment "Umbrales, ¿Cómo anudar el tiempo?" (Thresholds, How to knot time?).
The invitation consists of the compilation of symbolic evidence inspired by the outlook and sensitivity of Chilean writer Juan Emar and his posthumous book "Umbral" which, from a place of mystery, gives us sensitive keys to explore uncertainty. Emar, a tireless traveler until he went into hiding to write "Umbral", creates with this book an instrument of observation towards our inner self, questioning our role in the world.
Through the works and their activities, Umbrales triggers processes of observation, documentation and reflection appealing to a collective metamorphosis. Indeed, through their works five Chilean and German artists present an exhibition in Stuttgart in ifa-gallery intertwined with the Bosquemuseum at Cerro Calán in Santiago. Our editorial gardens allow the integration of content from the guest explorers, and a series of conversations and audiovisual forums allow us to deepen this threshold. The actions will be amplified in www.constelaciones.xyz, a space of open and constantly evolving relationships.
Constellations thus becomes a fundamental pillar of the biennial of media arts, by completing its scheme of thresholds:
0. the ether; 1. museums; 2. bosquemuseum; 3. intangible museum of audiovisual arts; 4. postal artifacts and 5. Thresholds - How to knot time?
About "Thresholds - How to knot time?"
Crises are thresholds and doorways to other worlds. In an era of multiple and interconnected ecological and social crises, Thresholds begins with the October 2019 protests in Chile, which paved the way for fundamental change and the empowerment of civil society. The protests and subsequent processes for a collectively driven reform of the constitution can be seen as a kind of magnifying glass for all existential crises in our lives, with the constitution as a threshold that triggers reflection on the effects of human activities on ecological systems, on gender equality, on the political dimensions of language, and on the effects of social technologies on our perception. The artistic investigations start from the turbulences of our times and sensitize us to understand ourselves as part of a complex constellation of mutually interdependent relationships, inviting us to recalibrate our sense of the collective. Thus, in an assemblage process that brings together voices from the arts, philosophy, activism and sociology, we attempt to connect the two cities of Santiago de Chile and Stuttgart, and create spaces for reflection and the production of social change.
Curatorship by Bettina Korintenberg and Enrique Rivera
Artists: Elisa Balmaceda, Claudia Gonzalez Godoy, Barbara Marcel, Elektra Wagenrad, Florian Wüst
This digital space gathers visions and reflections from multiple disciplines and sensibilities, fields of work and points of view around the themes addressed by "Thresholds".
Together with the interventions of the artists involved in the project, contributions from people invited to participate in this exchange - or game - are intertwined through three questions, constituting a collective weaving of knowledge, thoughts, and analysis around the new times.
The formulation xyz, which traces in space shape, depth and distance, has traveled from Euclid's Elements to our times, thus establishing the mathematical and geometrical understanding of the world. The depth of a constellation can be analyzed from vectors determined in the case of this context by the intuitive and rational navigation of the contents that make up this content repository. Is intuitive in that the navigation occurs from non-probable patterns, where the observed and its possible outputs have no apparent relationship with each other. It is also rational through the encyclopedic hyperlinking of keys that order a navigation system based on curiosity.
xyz is then a way of tracing the chaos of the rhizome of contents that inhabits the intersection of cultures, symbols, images and sounds that compose this constellation. It is in fact an attempt to establish a possible machine of conceptual navigation, where from the root are born rootlets produced by the interaction of those who navigate.