Alfredo Jaar, "Venezia, Venezia", Chile Pavillion, Venice biennale, 2013.
" [...] What Venezia, Venezia offers is of a different caliber. Its aim is to set before us, to make evident, the complete obsolence of such ways of representing the global powers- and thence too of the place assigned to all other countries, naturally including Chile. The work on dislay in the Chilean pavillion submerges the old hegemonies of the former great powers and makes the critical faculty an unfettered excercise in freedom, an excercise in power rather than submission, an invitation to participate in thought emanating from every conceivable part of the world and coming together at this Biennale and in the catalogue of the pavilion of Chile. And where, if not in art, can we hope for this broad global space of horizontal communication and free thought to be created?
The work in this national pavilion is contemporary, challenging and empowered, but not aggressive: slow, phantasmal and fluid, it is the metaphor that reveals the action of a different set of powers, in which the jostling for inclusion and exclusion between countries, territories and peoples goes on, sometimes dramatically, but with different logics.
In these circumestances, awarness of national feeling, of a possible "national identity," can be seen as an ongoing process, a collective, always active work in progress, invariably in relation to a country's history and the shifting global circumstances in which it takes place. An incessant producing of itself. It is thus akin, metaphorically at least, to the pioneering concept of autopoiesis that was put forward in Chile in the 1970s by two Chilean biologists, Humberto Maturana and Francisco Varela, and that has since exerted intellectual influence around the world."
Adriana Valdés
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