Following the first event in the CHANGING PLACES / ESPACIOS REVELADOS series in Buenos Aires in 2014, preparations for a new project in Santiago de Chile have been under way since the start of 2015. The public program will run from April 7 to 17, 2016.
“Pulling Strings” turns objects found in the local environment into actors that begin to dance on strings. It raises fundamental questions about our ties to the world around us, our networks and what binds us together. The choreographic work is currently being developed in Santiago de Chile by Eva M
From April 7 to 17, 2016, the Palacio Íñiguez, built in 1908, will be home to an installation by Rabih Mroué entitled “The Pixelated Revolution” as part of CHANGING PLACES / ESPACIOS REVELADOS.
Preparations for the CHANGING PLACES / ESPACIOS REVELADOS cultural project: In the heart of the Yungay district, artists Ivan Navarro und Courtney Smith are creating a performative sculpture that makes communication possible and explores community in a new way.
From April 7 to 17, 2016, artists from Chile and around the world will turn empty buildings and public spaces in Santiago de Chile into places of encounter. The program will center on the historic quarter of Yungay.
The “Blind Cinema” performance by Britt Hatzius opens up a very special experiential space. Children are able to see the movie, while adults are blindfolded and rely on descriptions from the children. Performances in Santiago de Chile from April 7–17.
The durational performance “Some Imperatives” by Tim Etchells renders the character of the city with a series of poetic messages.
At the Puente Fuerroviario, where the train travels from Puerto Madero to La Boca, Beatriz Catania together with 40 performers performs texts from Dante’s “Inferno.”
In William Forsythe’s balloon installation “Scattered Crowd,” visitors could bring the hall of Palacio Reconquista in Buenos Aires into a state of suspension
"La invención del barco es la invención del naufragio“ (The invention of the ship is the invention of the shipwreck) by Magdalena Arau.