180411: Kunstmuseum Bern DISLOCATIÓN. Cultural Location and Identity in Times of Globalization

Kunstmuseum Bern DISLOCATIÓN. Cultural Location and Identity in Times of Globalization 18.03.11 – 19.06.11 Research work of social breaking points On the occasion of the bicentennial of Chile’s independence, the Swiss Embassy in Chile invited the Chilean-Swiss artist Ingrid Wildi Merino to organize an exhibition. 14 artists from Chile and Switzerland artistically analysed the political, social, and economic causes, conditions, and consequences of migration. At various venues in Santiago de Chile the works were presented in the form of a Biennial. Through its dislocation to a single location at the Kunstmuseum Bern in Switzerland, the exhibition lived up to its title: Dislocatión, and which, in turn, inevitably led to new conceptions and adaptions of the presented works. None of the artists misused the topic as a “do-gooder fig leaf”, as they have all been working in related fields for many years, something that clearly manifests itself in the urgency and coherence of the works. Dislocatión means to shift, displace and – used in a medical sense – to sprain. Marie-Antoinette Chiarenza and Daniel Hauser from the group RELAX try to put their finger on the reasons for the deracination of so many people and came to the conclusion that the reasons can be found in Chile’s neoliberal economic government, the first in the world to implement this system after Pinochet’s military coup against Allende in 1973. The installation, comprised of documents, videos and activities for visitors to take part in, uncovers - with a certain sense of humour - how a philosophy (that primarily assesses the benefits against the costs), becomes a lottery - with no winner in the end. Chile’s population still suffers from its traumatic experiences under the dictatorship. Camilo Yánez’s melancholic camera journey is memory work: during the days of the coup, Santiago de Chile’s national stadium served as a concentration camp. Here thousands were murdered, among them the famous singer Victor Jara, whose song “Luchín” accompanies the images of the empty stadium. The scars of the social breaking point, to this very day still marked by monumental inequalities, is part of Thomas Hirschhorn’s work in which he cuts the status symbol Ford Ranger into two parts. An adhesive tape provisionally holds the two parts together. Despite its convincing results, the exhibition does not lack self criticism: in an interview in Mario Navarro’s “Radio Ideal” it became clear that the diverse communication cultures did not offer the project an easy framework. the exhibition cannot veer out of the system that created it. It is also a kind of Dislocatión to present partly sellable works in a Pro Helvetia prestige object that offers internationally renowned artists a platform. The artists involved in the exhibition discuss globally relevant topics and contribute to the abstract phenomena of globalisation in differing views and memorable artistic forms. Throughout the exhibition, one is hassled by all kinds of sound tracks; the complexity of today’s world is meant to be endured. In reality, the exhibition is impertinent, a mental overload - and that is a good thing. It forces the visitors to expose themselves, to get involved, to take a close look, and to deal with the topic intensively – something that would not be possible if this were a superficial presentation. By Sylvia Mutti Kunstmuseum Bern 3000 Bern, Hodlerstrasse 12 Tel: +41 31 328 09 44 Fax: +41 32 328 09 55 email: info@kunstmuseumbern.ch http://www.kunstmuseumbern.ch Opening hours: Tue 10 a.m. – 9 p.m., Wed- Sun 10 a.m. – 5 p.m.

Kunstmuseum Bern
3000 Bern, Hodlerstrasse 12
Tel: +41 31 328 09 44, Fax: +41 31 328 09 55
Email: info@kunstmuseumbern.ch
Öffnungszeiten: Di 10.00 - 21.00, Mi - So 10.00 - 17.00

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