GALERÍA METROPOLITANA presenta:
“TRANSVERSA”

GALERIA METROPOLITANA, continúa su curatoria 2006: Pueblo, masa, multitud, cuya programación considera la concurrencia de una serie de proyectos que conectan reflexiva y / o críticamente con este eje conceptual.


Transversa como proyecto curatorial se construye al interior del South Project (proyecto de dialogo intercultural: http://www.southproject.org) que propicia redes de trabajo sur-sur a la vez que mixturas entre arte contemporáneo, artesanía y culturas indígenas. A la vez Transversa se articula como proyecto curatorial pensado y diseñado por Zara Stanhope y Danae Mossman para tres lugares específicos del circuito de artes visuales de Santiago de Chile: Museo de Arte Contemporáneo, Matucana 100 y Galería Metropolitana.


Transversa en Galería Metropolitana propone dos obras in situ, obras que propician puntos de encuentro reales, tanto sociales como culturales, con el contexto en específico. Obras pensadas a distancia pero también para ser concretadas en el lugar de los hechos. Obras nómades y flexibles por lo tanto, adaptables a las condiciones del lugar, abiertas a la mezcla y las contaminaciones y autoconcientes de su naturaleza cambiante.

Tom Nicholson presenta, El siglo: Líneas y fronteras (23 de enero de 1901/ 12 de julio de 2005) Señal 3 de la Victoria, 5 y 6 de octubre de 2006, 18 hrs. Acción e intervención que combina involucramiento con la comuna de Pedro Aguirre Cerda, tanto con personas como con organizaciones sociales e investigación visual. Esto se traduce por una parte: en un video que cita a la manera de un dibujo extendido una lista de limites y fronteras del mundo desde el año 1901 hasta 2005, leídos por una dirigente de la población La Victoria: Gloria Rodríguez. Su exhibición por el canal 3 de La Victoria los días 5 (día de apertura de la exposición) y 6 de Octubre, la pegatina de 4 papelografos en los muros de la comuna apropiándose de la operatoria y lenguaje de la Brigada Chacon Corona, invitando a ver el programa y una video instalación en galería metropolitana que cita en tres televisores facilitados por los vecinos, marchas (banner marches) organizadas por Tom Nicholson en Australia (Melbourne, Kellerberrin y Sydney) entre los años 2004 y 2006.

Daniel Malone presenta Sweet Potato, instalación performance, centrada en la historia de la papa camote o kumara, en base a la pregunta por su origen : sudamericano o Maori, y que reflexiona sobre la imposibilidad de localizarle exactamente un solo origen, a la vez que señalar links entre New Zelanda y Chile. Materialmente sweet potato se resuelve como instalación-artesanía a través de una serie de replicas en greda de papa camote hechas en Chile por manos neocelandesas y la preparación performance de Hangi, plato maori en base a kumara o papa camote el dia de la inauguración, en un hoyo escavado por Malone en las inmediaciones de galería metropolitana.

Tom Nicholson 1973
Lives and works in Melbourne, Australia.
Nicholson's practice engages cultural and political realms through a variety of ‘actions’, which appropriate the forms and media of protest and propaganda whilst also subtly referencing the history of art. Nicholson adroitly navigates the tension between the gallery space and the public realm in much of his recent practice. Focusing on the remnants or traces of his public actions, Nicholson’s work often poses questions that reference socio-political issues of the day. Nicholson's ongoing banner march project is central to his practice and will be the focus for his work in Santiago. In addition to the political nature of the march that relates to protest, commemorative or celebratory rallies, Nicholson's banner projects also foregrounds the tension between the individual and the community which subordinates the one in deferral to the mass.
Nicholson has exhibited widely in Australia and recently participated in the 2006 Biennale of Sydney. Further solo exhibitions include Flag Time: Marat at his last breath, Ocular Lab, Melbourne, 2006 and 22.06.1911/30.10.2004: Documents after Marching Season, The Aurora Project, Regent Theatre / IASKA, Kellerberrin, 2004. The artist has featured in major group exhibitions including; Ghosts of Self and State, MUMA, 2006; The body. The ruin , Ian Potter Museum of Art, University of Melbourne, 2005; 2004: Australian Culture Now , National Gallery of Victoria, Melbourne, 2004, (with Raafat Ishak); and NEW04 , Australian Centre for Contemporary Art, Melbourne, 2004. In 2005 he was a finalist in the Melbourne Prize for Urban Sculpture. Tom Nicholson is represented by Anna Schwartz Gallery, Melbourne. www.tomn.net www.ocularlabinc.com www.biennaleofsydney.com.au

Daniel Malone 1970
Lives and works Auckland, New Zealand
Described as a “cultural ethnographer, scavenger, archivist and producer” Auckland-based artist Daniel Malone tends to defy categorisation. (Emma Bugden, 2004). Working across mediums including painting, sculpture, video, performance, sound and photography, Malone is adroit at creating situations and spaces that tackle preconceptions of familiar social and cultural identity. Conceptual concerns are at the core of his practice, which is evident in Malone's fascination with navigating foreign terrain in an attempt to extrapolate relevant historical and social connections with specific sites, thus revealing or at least humorously prodding dominate ideologies and didactics.
Malone has exhibited widely both in New Zealand and internationally. Recent exhibitions include I Singapore Bienalle,Sept-Nov,2006, Local Transit - An Exhibition in Two Parts 2006 , a joint exhibition between Artspace (Auckland) and Artists Space (New York); Weapons Of Mass Creation , 2005 Special Gallery, Auckland; World Famous In New Zealand , 2005 Canberra Contemporary Art Space, Australia; Telecom Prospect 2004, City Gallery Wellington, Biennale of Sydney 2004, Malone @ artspace , 2003, Artspace. Malone is currently a lecturer at Elam School of Fine Arts, The University of Auckland. He holds bachelor degrees in Art History and Fine Arts from the University of Auckland. www.singaporebiennale.org


Zara Stanhope is Deputy Director, Senior Curator at Heide Museum of Modern Art, Melbourne. Stanhope has curated numerous exhibitions in Australia and New Zealand, most recently; We know who we are at Gertrude Contemporary Art Spaces, Melbourne, and Imagine the creativity shaping our culture at the newly reopened Heide Museum. Other projects include; THREE COLOURS, Gordon Bennett and Peter Robinson; This was the future, Sculpture from the 1950s, 60s, 70s and today , slow release, recent photography from New Zealand and Good Vibrations, the legacy of Op art amongst others.
Stanhope was inaugural Director of the Adam Art Gallery, Victoria University of Wellington, New Zealand (1999-2002) and Assistant Director, Monash University Gallery (1993-1999) responsible for developing both curatorial programmes and gallery management. Her interests encompass fostering creative exchange in the Asia Pacific region and implementing strategic annual programmes specific to institutional missions that present and interpret local art in historic, thematic or regional contexts.
Stanhope is a regular contributor to art magazines and exhibition catalogues and has developed a number of touring exhibitions which include: THREE COLOURS, Gordon Bennett and Peter Robinson (Australia and New Zealand 2004-6), slow release (Australia and New Zealand 2002-2003), Botanica (New Zealand 2001-2002), The Persistence of Pop (Victoria 1999-2000) and Close Quarters, Contemporary Art from Australia and New Zealand (Australia and New Zealand 1998-2000).
http://www.heide.com.au

Danae Mossman is Director of The Physics Room contemporary art space in Christchurch, New Zealand, where she is responsible for the management and strategic direction of the organisation, and the development of a curatorial programme comprising national and international contemporary art exhibitions, publications, off-site projects and performances. Recent New Zealand based curatorial projects include Breathing Space , The Physics Room, Christchurch; House Work , Blue Oyster Gallery, Dunedin; The Ouse Project , temporary exhibition space, Wellington; and Single Currency , an exhibition of Australian and New Zealand artists at the VCA Gallery, Melbourne.
Mossman has worked in various capacities in contemporary art galleries and universities over the past five years. She has contributed to a number of art magazines including Art New Zealand and Photofile , and has written numerous exhibition catalogue essays on contemporary New Zealand and Australian artists.   Mossman's research interests include contemporary art and critical discourse, particularly in creating links between contemporary art and other critical areas of cultural production, involving art as a contributing voice in a wider intellectual, social, and political debate.
www.physicsroom.org.nz

Abierta hasta el 5 de Noviembre
Auspicia: Viñedos Emiliana S.A
Agradecimientos: Señal 3 de La Victoria, Gloria Rodríguez, Leonardo Ortega