SACO9 Now or never

Page 200

MAGUA | Simone Cortezão The landing in Antofagasta came at the end of a morning whose sun I did not recognize. I’d never seen the desert before. That day I saw a yellowish light, a city trapped by dry hills. The architecture looked like the favelas in Brazil, what we call do-it-yourself construction. I arrived at ISLA carrying my own impressions and queries into the world of mining. After almost eleven years working in brazilian territory, I was able to recognize the deterioration of the land and the resulting disaster. I came to Chile with the shock of having witnessed the bursting of two dams, a lot of mud, the regurgitation of melted earth and loads of dirt sweeping through the entire region. My energy became focused on the mountains from years of research done in a landscape full of them, and which are disappearing due to extractivism and theft day by day. Whereas in the desert, the violence was clearly displayed in the open, arid landscape. I went looking for the depths of the earth and its connection to the sky. Knowing the geographic situation of the Atacama Desert, I thought it would be possible to find some clues there, some cosmologies of that meeting. And it’s not that I didn’t find them, but I keep searching. Anyway, it was in the unforgiving surfaces of the desert where I found the necessary sideroad. I was attracted to María Elena, a place with a woman’s name in the middle of the desert. For some days, I prepared for the trip while in Antofagasta. I spent a whole day walking, feeling the heat, perceiving the sounds and the light of the desert. When I was about to leave, seated at the bus stop, an old lady with the skin aged by the sun arrived and joyfully said: “beautiful girl!, where do you come from?” The driver, who witnessed the conversation, murmured to me with a tone of prejudice: she is the oldest prostitute of María Elena, her name is Magua. In Portuguese Mágoa is a meaningful word. It’s sadness and spite, the heaviness of sorrow, a pain that remains even after a long time has passed: a deep feeling. I found María to be like that, Magua. A couple of days later I returned to that mining city in the middle of the desert, whose principal and oldest living memory was called Magua. María, Magua, didn’t want me to, and so I was unable to find her again. 198


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Articles inside

En la noche es pájaro, polilla, viento o silencio | Elisa Montesinos

1min
pages 228-231

Residencia pandémica | Simon Van Parys

10min
pages 232-244

Una trampa para el tiempo | Elia Gasparolo y Santiago Rey

2min
pages 224-227

Delusión | Jordán Plaza

1min
pages 220-223

Bitácora de un olvido | Felipe Muñoz

0
pages 217-219

Residencia en la residencia | Elisa Montesinos

1min
page 216

La resurrección de los materiales | Iván Ávila

3min
pages 212-215

Magua | Simone Cortezão

2min
pages 200-203

Lo que da vida, mata | Elisa Montesinos

1min
pages 198-199

Lecturas del desierto | Michael Hirschbichler y Guillaume Othenin-Girard

1min
pages 210-211

Una flor en el cráter | Dagmara Wyskiel

2min
pages 206-209

Litio para el trastorno bipolar | Fabrice Michel

5min
pages 196-197

Lo que los turistas no ven | Elisa Montesinos

1min
pages 194-195

La muerte de la memoria | Equipo SACO

1min
pages 192-193

información y masividad actual | Elisa Montesinos

7min
pages 182-188

Una nota desde Antofagasta, Chile | Jaewook Lee

2min
pages 189-191

Revelando sonidos y silencios | Iván Ávila

3min
pages 168-171

Mediar la ausencia | Gabriel Navia y Carlos Rendón

3min
pages 172-175

Claudio Alarcón y Sebastián Rojas

2min
pages 162-165

Escuela sin escuela en el puerto | Carlos Rendón El nuevo rol del arte en el laberinto de

4min
pages 176-181

Sombras en Quillagua | Carlos Rendón

1min
pages 166-167

El lenguaje de los pájaros | Carlos Rendón Las imágenes que consumimos y proyectamos | Natalia Leal,

2min
pages 160-161

Microcuradurías módulo 2: Invaluable presencialidad | Carlos Rendón

5min
pages 154-159

Las luces del arte encendidas | Elisa Montesinos

4min
pages 150-153

Microcuradurías módulo 1: Curar desde lo precario | Carlos Rendón

7min
pages 146-149

con sus respetables labores | Elisa Montesinos

4min
pages 142-145

Curar desde lo micro | Dagmara Wyskiel

4min
pages 140-141

Microrreflexiones magistrales | Carlos Rendón

3min
pages 138-139

Ejemplos conceptuales para encontrar arte en desechos y contratos | Carlos Rendón

2min
pages 134-137

Tacto | Carlos Rendón

1min
pages 131-133

Exijo una explicación! | Rodolfo Andaur

2min
pages 120-130

Escuchar en lickanantay | Dagmara Wyskiel

1min
pages 116-119

Ventanas | Sebastián Rojas

1min
pages 96-99

Desterrada | Francisca Caporali

2min
pages 106-111

Las fragilidades del cuerpo | Dagmara Wyskiel

2min
page 100

Repensar para construir | Ana Agorio

1min
pages 101-105

ISLA+: cuestionar la (ir)realidad de la pandemia | Dagmara Wyskiel e Iván Ávila

2min
pages 112-115

Casa Azul: El living, el patio, la escalera, el dormitorio | Dagmara Wyskiel

1min
pages 92-95

Entrevistando a un hombre con cabeza de pájaro | Iván Ávila

3min
pages 86-91

A puerto | Elisa Montesinos

12min
pages 58-85

Nadie sabe qué es el arte | Enrique Rivera

3min
pages 26-29

Vueltas de página | Fernando Sicco

4min
pages 22-25

o cómo hacer arte de emergencia) | Camila Lucero

11min
pages 36-45

La exhortación de la inminencia | Lia Colombino

1min
pages 30-35

Un ahora intenso y prolongado | Yana Tamayo

5min
pages 15-21

Ahora es cuando. Texto curatorial SACO9 | Dagmara Wyskiel

2min
page 13

La paradoja del despertar | Equipo SACO

2min
page 14

Resistir sin caparazón | Dagmara Wyskiel

4min
pages 53-57
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