de Guy Brett,
(dedicada a Eugenio Dittborn)

GALERIA METROPOLITANA continúa su curatoría 2007: Muros, límites y fronteras, cuya programación considera la concurrencia de una serie de proyectos que conectan reflexiva y/o críticamente con este eje conceptual.   

MuseumMAN es un museo nómade, vivo y habitable, dirigido y curado por el artista Adam Nankervis. MM es un gabinete de curiosidades, una mezcla ecléctica entre arte y artesanía, una fértil e incongruente mezcla de categorías, donde artistas internacionales y locales son invitados coyunturalmente a participar y colaborar en un diálogo creativo.

FRAGILE AND AMBIGUOUS EXISTENCE es una obra de Guy Brett que forma parte de la colección de MuseumMAN y que ha sido re-adecuada para Galería Metropolitana. Es una instalación que tiene como base la estructura de una casa, que contiene una mesa sobre la cual hay un libro que recoge una selección de 46 obituarios publicados en diarios ingleses (fundamentalmente The Guardian) en los últimos diez años. Esta obra se construye a partir de la fascinación de Brett por la escritura de obituarios, por su capacidad de certificar una vida más que la muerte mediante un objeto verbal exacto y preciso, en oposición al periodismo de noticias diarias.

MuseumMAN en esta segunda parte de su presentación en Chile –después del Centro Cultural de La Moneda, con Historia de la Desaparición, archivo curado por Marta Wilson– con la curatoría de Adam Nankervis y Alexia Tala, incluye la participación de una serie de invitados:

- Inauguración: viernes 14 de diciembre, 20:00 hrs.
ADAM NANKERVIS, Documentación e imágenes sobre MuseoMAN
GUY BRETT, Fragile and ambiguous existence + artistas chilenos
- Jueves 20 de diciembre, 20:00 hrs.
KOAN BAYSA, Materia Dolorosa
-Viernes 21 de diciembre, 20:00 hrs.
Karolin Tampere-Camila Marambio
- Viernes 28 de diciembre, 20:00 hrs.

Abierta hasta el 5 de enero
Auspicia: Viñedos Emiliana S.A.
Agradecimientos: Alfredo Jaar, Josefina Guilisasti
Asistentes: Nicolás Castro y Cristian Hernández Morata

MuseumMAN is an open cabinet of curiosities tracing a history of two cities through an eclectic mix of art and artifact. With its roots in New York City, it has manifested its unique form of a lived in museum from Berlin to Liverpool.

MAN has been a temporal home for artists and visitors alike. Local and international artists are invited to participate in a dialogue within the space that is MAN, where a menagerie of spatial interventions - events, performances and exhibitions from live bands to levitating manholes - are regularly hosted. Activities inhabit every room and no space is left vacated, except by the artists’ intention. Museum Director - Adam Nankervis an Australian artist, based in Liverpool and Berlin, Adam Nankervis has exhibited globally over the last 20 years. His collaborations with Derek Jarman, David Hockney, Peter Tulley and long-term working partnership with David Medalla - the Fillipino kinetesist, founder of participation, performance artist and conceptualist - have developed a varied experimental practice and participation in a widely diverse set of mediums.

Adam Nankervis has exhibited extensively. Under the banner of MuseumMAN he was representative at The Los Angeles Biennial 2001; LIFE/LIVE Musee D"Art Moderne de la Ville Paris-Centro Culturelle de Belem Portugal curated by Hans Ulrich Orbrist 1996; The Johannesburg Bienniale 1997 curated by Okwai Enwezor and Gerardo Mosquera; Boijmans von Boiningham curated by Peter Fillingham; and exhibited at the Liverpool Biennial 2004. Adam Nankervis is in the collection of the Arts Council England and private collections worldwide. MAN was born out of necessity. The fabrication of a "museum" grew from the demand by galleries and artists wanting to exhibit internationally, or inviting me to perform, under the aegis of "host gallery". In 1992 New York was in a tangible recession; businesses were closing and boarded up shop fronts abounded. It felt like a plague had hit. A shoe shop on Mercer Street in SoHo belonging to two friends went out of business, with one month remaining on the lease. I offered to take over the space for a series of exhibitions, thus bailing them out and finding a space to show works in the SoHo area, at that time the monolith of the NYC art world. I called this "temporary" gallery "Another Vacant Space". "Another Vacant Space" has subsequently opened its doors intermittently in London, Copenhagen and Berlin. MuseumMAN was properly established in Berlin 1996. I moved into a former DDR apartment and found the flotsam-jetsam of an elderly man; photographs, books, personal items and various paraphernalia. Through these found relics of an anonymous man, his life, a history of a city was revealed. Another Vacant Space didn't seem an appropriate title for the space in which I lived. In a sense it is a repository of work, collections found on travels, and pieces swapped or given to me by other artists, together with my unknown man’s previously scattered, now purposefully grouped belongings. The bulk of these works tended toward the reading of the masculine male in multifarious forms.

This was unintentional: “MuseumMAN” was simply conceived as the combining of "museum" with my initials, together with an acknowledgment of the unknown man, the unwitting inspiration for installations and performances including, Boquets for A Dead End Street, Pansy Takes A Trip, Flotsam-Jetsam and the Blueprints proposal. A Blueprint of the Senses has been an ongoing proposal for the last four years since its first manifestation in Berlin 2001. It is conceived as an open invitational to all art practioners, bringing together artists and archival exhibits in one dialogue, that of the evolution of the curiosity cabinet, the circus and the birth of the modern museum, reaching an ultimate fruition at the Liverpool Biennial 2006. MuseumMAN has been resident in Liverpool since 2004 when I participated in the Liverpool Biennial – and decided to stay. MAN was and is the first of many concepts, a lived-in museum, where many artists have since its inception in 1996 exhibited, performed, shown films, given lectures…and slept.

Guy Brett is long established art critic and curator who lives and works in London. He has written extensively since the 1960s and has curated / organised a number of international exhibitions addressing the aesthetic constitution of the cultural specific condition within a rhetoric space along the axis of dialogical model of curating in exhibition-making today beyond the boundaries of dichotomies in a multitude between 'global and local interests.' Guy Brett has published widely in the international art press and is the author of monographic essays on Rasheed Araeen, Derek Boshier, Lygia Clark, Eugenio Dittborn, Rose Finn-Kelcey, Tina Keane, Victor Grippo, Brion Gysin, Mona Hatoum, Susan Hiller, Ghisha Koenig, David Medalla, Helio Oiticica, Lygia Pape and Aubrey Williams. Brett contributed as critic and as curator to the development of European and Latin-American kinetic art during the 1960s. He curated influential exhibitions such as "In Motion", an international exhibition of kinetic art for the Arts Council of Great Britain (1966) and "Force Fields: Phases of the Kinetic" for MACBA in Barcelona and the Hayward Gallery in London (2001).

Alexia Tala, a Chilean born visual artist who lives and works both in her native country, has exhibited and practiced extensively in the UK and Europe.Obtaining an M.A. in Fine Arts from Camberwell College of Arts (University of the Arts London). She was in the Curatorial Studies programme at Central St Martins and also at Birbeck College (TATE Modern). Her conducting research on contemporary artists using print making techniques on installations has seen a wide base development in England. Being a pioneer in this field has resulted in her forthcoming publication “Installation and Experimental Printmaking (A.C.Black London). Alexia continues to lecture in art institutions in the UK and beyond. Alexia has curated many events including the British contigeant of artists for The First Latin American Performance Biennial, DEFORMES 2006. Alexia Tala has invited Museum MAN to Chile in three different venues across the country after participating in Museum MAN Liverpool Biennial 2006 and saw the potential of MAN,s itinerant nature and inviting the project, the “lived in museum” to be housed in Chile. Alexia Tala along with Adam Nankervis saw an open potential to invite artists both nationally and internationally, in the vision of new and important dialogues within Chile in the form of an open forum which is Museum MAN. It offers an international and national dialogue-a pollination of artistic and art historical dialogues important not only regionally but on an international stage.

Koan Jeff Baysa is an independent curator, writer, practicing specialist physician, and alumnus of the Whitney Independent Study Program in Curatorial Studies. His writing appears in gallery and museum catalogues, art periodicals, website journals, and medical-science publications. Lecture venues include Montclair State University, Independent Studio and Curatorial Program, Parsons Association of Independent Colleges of Art and Design New York Studio Program and ArtOMI; he has been a panelist in conferences on art by Asians and Asian-Americans at the Asian Art Museum in San Francisco, The Asian American Art Centre, University of Hawaii, Asian/Pacific/American Studies Program and Institute at NYU, and the Zimmerli Museum in New Jersey; he has participated in graduate architecture critiques at Pratt Institute and Columbia University. With Dana Friis Hansen, he co-curated the exhibition, "At Home and Abroad," that traveled to San Francisco, Hawaii, Houston, and Manila. Recent curatorial projects include "Lysis" at Pamela Auchincloss Project Space, New York (October 2002), "Per Ora: Consuming Desire" for Visual AIDS (October 2002), "Freshen" at WSG, San Francisco (August 2002), "The Brewster Project" (July 2002), "The Boxer, The Missionary, and Their Gods" at POST, Los Angeles (April 2002), "Oxygen" at White Box, NY (February 2002), "!!!!" at The Scene Gallery, NY (February 2002), and "Dermatome" at cherrydelosreyes, LA (January 2002). Upcoming programming includes "Digital America" for Olympus Camera in San Francisco, New York, and Chicago (November 2002), "One Hand Clapping" at SmackMellon New York (November 2002), "Ecco Vanitas" an ASCI project with gallerythe, Brooklyn (November 2002), "Nervous Disturbances" at Stefan Stux, New York (November 2002), "FAKE!" at POST, Los Angeles (November 2002), and "Artsthma: Art Against Asthma" at the Bronx River Center and Gallery, New York (November 2002). Planned collaborative projects include "Disappearance" co-curated with Olu Oguibe, "Thicker Than Water" co curated with Dominique Nahas, "Red Beans and Rice: Asian Artists in the American New South" co curated with Craig Bunting, and "Incidental Reflections," co-curated with Denise Carvalho. Dr. Baysa is on the boards of The Vera List Center for Art and Politics at The New School, Art-Science Collaborations Inc., ArtOMI, Cross Path Culture, and

Blank Studios has an enormous collective talent bank. We are 26 contemporary artists working from the same studio complex. Disciplines span across from live art to sound installation and cover: dance, choreography, puppetry ceramics, painting, photography and curatorial arts. The work that will be on display in Chile will include DVDs, text work, photography, live performance, painting, sound design, and installation. A group of artists at BLANK studios in Brighton, England have been formally invited to participate in the MuseumMAN exhibit in Santiago, Chile. The invitation arose through a connection built at the last MuseumMAN show in the Liverpool Biennial 2006, where Johanna Berger (BLANK founder) exhibited work. This was followed by the MuseumMAN curators attending BLANK's launch event in April 2007. This event included exhibitions and performances of works by all BLANK members in our own premises. In Chile show, Artists, curators, historians, and theorists have been invited for forums within the exhibit. There will be discussions of themes of models and instruction of the navigation of art in socio political manifests and new models of representation

Karolin Tampere (nacida 1978 en Estonia, reside en Noruega) tiene un BA en Artes Visuales de la Academia Nacional de Arte de Bergen (2005), incluyendo periodos de intercambio con  el Centro de Arte Contemporáneo en Moscú y el Centro de Estudios Interdisciplinarios de la Academia de Arte de Estonia en Tallin. Junto a la artista Åse Løvgren, inicio un colectivo llamado Rakett (2003-), este es una plataforma móvil para varias actividades que cubren desde la practica curatorial hasta el iniciar sus propios proyectos artísticos en conjunto. Rakett suele funcionar como energéticas y temporales plataformas, casi siempre interdisciplinarias, en donde el rol del las curadoras no es sólo el crear una marco teórico sino la reunión de diferentes productores culturales, para crear momentos de potencialidad. Implícita y explícitamente, los proyectos de Rakett cuestionan varias nociones, tales como la (co)autoría, la producción (in)material, el rol del artista vs. el del curador y el potencial de crear plataformas móviles dentro de la infraestructura del arte. Curando independientemente desde el año 2002, fue en el 2006 cuando comenzó con la serie 'Amo tu Trabajó' en Landmark,  el espacio de nuevos medios del Bergen Kunsthall, Noruega. Este proyecto se concentra en  aquellos artistas trabajando de formas hibridas entre la música y las artes visuales. -

Camila Marambio (nacida 1979 en Phoenix, EE.UU., reside actualmente en Chile) comenzó su investigación curatorial mientras cursaba un año en el departamento de Historia del Arte de la Universidad de California, Los Angeles, durante el cual fue asistente de exhibiciones de Los Angeles Contemporary Exhibitions (LACE). A su vuelta, dedicó su tesis de Licenciatura en Estética (PUC) a la búsqueda de una definición de curatoría en Chile y acompañó su trabajo teórico con una serie de exhibiciones en el centro cultural Espaciocal. En seguida, cursó un Magíster en Arte Moderno y Curatoría en la Universidad de Columbia, Nueva York y trabajó como Curadora Asistente en Exit Art, un espacio de arte alternativo en la misma ciudad. Su practica curatorial independiente ha estado avocada a problematizar el espacio de la galería y a proponer alternativas al formato de exhibición por medio de poner énfasis en la colaboración, el proceso creativo y las practicas efímeras. Estudiosa de diferentes modelos de intercambio cultural, Camila viajó a Nueva Zelanda por una temporada, a trabajar como directora de la residencia artística New Pacific Studio. En el 2006, Camila formó parte del Programa Curatorial de Appel en Amsterdam, Holanda. Como fruto de esta estadía surgió el 'Living Catalogue',una colaboración a largo plazo con cinco otros curadores. Ésta se manifiesta por medio de una serie de presentaciones orales y performaticas inspiradas en el proyecto "THE GO-BETWEEN". Actualmente, Camila se desempeña como curadora independiente en Valparaíso y Santiago