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CHANGING PLACES / ESPACIOS REVELADOS in Santiago de Chile, Chile

Connecting art, cultural heritage, and community

Iván Navarro and Courtney Smith created a performative sculpture that fostered communication and redefined community.
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In a multi-day project, composer Sebastian Jatz weaved sounds throughout the city.
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Daniel Lie used materials and plants found in an abandoned house to change it into a space of liveliness and transience.
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Cultural heritage, art, and community – in 2016, CHANGING PLACES took place in the central Yungay district of Santiago de Chile.
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“Why such callousness toward others?” MilM2 allowed residents of the neighborhood to pose questions to their neighbors.
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To mark the opening of Plaza Yungay, the bells of San Saturnino rang for the first time in seven years as part of a sound installation.
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“Sueño Americano” (“American Dream”) – eight basketball hoops, a symbol of American pop-culture, were installed at unreachable heights on buildings.
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Cristobal Palma reflected the back part of a room so visitors could consider their own relationship to the space.
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Impressions from CHANGING PLACES in Santiago de Chile.
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From 7-17 April 2016, CHANGING PLACES / ESPACIOS REVELADOS transformed Santiago de Chile into an experimental space for artists that examined the relationship between art, cultural heritage, and community. Installations, performances, and other artistic works turned abandoned buildings and squares into experiential spaces. The historic Yungay quarter in the heart of the city was home to a space that reflected the fragile cohesion of society, casting a spotlight on the neighborhood while pointed questions: Who are our neighbors, and what do I share with the person next to me?

The intersection of vacancy, immigration, and the pressure to develop

Dating back to the middle of the 19th century, the Yungay barrio is Santiago de Chile’s first planned quarter. In recent decades, the district has been marked by migration and decay, earthquakes, economic crisis, and political conflicts. Recent efforts within the neighborhood have meant some of the district’s buildings have been preserved.  The intersection of vacancy and speculation, immigration and social separation, stagnation and development is part of Yungay’s reality today, which calls for a shift in our perspective.

Places that were nearly forgotten

The northern part of the district was once home to a train station that connected Santiago to other cities, -including  the coastal city of Valparaíso. One of the interventions breathed new life into this more or less forgotten part of the neighborhood. Other artists turned to other locations: an old metal hut, abandoned apartment buildings, burned-out houses, an unused theater, or a metro station that was built but never put into operation. Artists from Chile and around the world went to work transforming around 20 buildings and public spaces.

Building a new relationship with the city

The eleven-day program with installations and performance pieces touched on three fundamental pillars of the project: Individual artistic works, participatory work with neighborhoods, and supplementary activities that went beyond the presentation spaces and were built for the future.

Artists

Magdalena Arau, Abraham Cruzvillegas, Ducci & Ducci, Nicolás Grum, Beatrice di Girolamo, Ant Hampton, Britt Hatzius, Raúl Hott, Sebastián Jatz, Ronald Kay, Daniel Lie, Ken Lum, Javier Mansilla, Eva Meyer-Keller, Rabih Mroué, Valentina Muhr, Ivan Navarro & Courtney Smith, Mario Navarro, Javiera Peón-Veiga, Cristóbal Palma, Amanda Piña, Cristián Plana, Catalina Pollak, Pilar Quinteros, Raqs Media Collective, Prem Sarjo, Reinhardt Schultz, Maria Siebald, Meg Stuart, Ariztía Lab, Grupo Grifo, 12na, MICH, MilM2, New Indie, Taller Fermín Vivaceta, Ediciones Pizarra, Eco Barrio Yungay

In cooperation with:

Municipalidad de Santiago, Municipalidad de Providencia, escenalborde, Nave, Junta de Vecions Barrio Yungay, Escuella Taller Fermín Vivaceta, DUOC, Universidad Diego Portales, Universidad de Chile, Goethe-Institut Chile and other partners.

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