During the time that I will be participating on the artistic residency, mi objective will be to work with photographic archive of Berlin, where the operation will consist on searching for the material in photography stores or photographic archive from families residents in Berlin to complement with photographs from my authorship, and in that way, built a dialog between the intimate and the private, between two different approaches that speak about the concepts of memories and memory. The photographic archive that come from ONE and from an OTHER counterpoint in a complementary way generating a dialog and shades between one another. In that way as an artist, I also get involved locally with the photography and with the people that inhabit the city, as a sort of social study, anthropological and intimate, which would be the photography’s own meaning, in the sense of getting involved and owning what’s foreign into my visual language.
My artistic language from visual memory using the means of photography and analogous video as the support. These artistic mechanisms function inside my work to prove that somehow they place us historically and also, they work to prove that their constant manipulation relentlessly leads to new languages that carry us to memory. These images are captured and/or appropriated from one-eye which fixes on what I want to belong to my collection, that’s the only way I can obtain them.
I take distance from the object I desire, giving meaning to the remoteness of oneself to meet with another. This definition when I use other artists’ photographic and audiovisual archive that does not belong to me. The act of stealing these analog archives is breeding ground for the construction of the work, where collective and private memory are joint. Is in that way that I search inside this archives how to be able to materialize memory.
To remember leaves print in our brain and the image is what helps us in that process. Is because of this that forgetting or the resetting of our minds is such almost an impossible one, unless there is some kind of neurological problem or a violent intervention like a lobotomy or electroshock.
In my work, I propose materializing that print or mark of the memory through the mistake. In this case, the photographical and audiovisual mistake is taken as something virtuous. When the film gets veiled because of the entrance of light, the wear away, or by manipulation. When stains appear because of the passing of time, or if we couldn’t focus at the moment of the photograph, those are the actions are reflected in my images and can give sense to the wear away memory.
The process of construction of image through forgetting has its treatment en deleted images, with stains giving meaning to memory. This is fragile, but is there, like a veil, covered in cobweb wrapping our brain, like the metaphoric diagnostic person suffering from Alzheimer’s disease
b. 1991, Chile
Art Bachelor Degree in from the Catholic University of Valparaiso
Art Director Diploma from Chilean Film School
Third International Photography’s Festival (FIFV)
“Trapos al sol” (Espacio Hache) video-installation “Rio Leteo” at the collective exhibition “Trapos al sol” (Espacio Hache)
“El rito de CORTAR/PEGAR”, Centro de Arte La Perrera in SCL
HIPOCAMPO I, Casa en Blanco, also in Santiago
IMPRESIONANTE, the Museum of Contemporary Art (MAC) Ch.ACO fair onCasa en Blanco gallery
Visual Semiotics, Photography Aesthetics, and Universal and Chilean History of Photography in Los Leones Institute
Fragment III, Photography, 1200 x 799 cm, 1970-1976, by Anna Pistacchio
Rio Leteo, SD Video, 2016, by Anna Pistacchio
Acto de CORTAR/PEGAR, HD Video performance, 2016, by Anna Pistacchio
Photography, 1200 x 796 cm, 2014, by Anna Pistacchio
Photography, 2480 x 1652 cm, 1970-1976, by Anna Pistacchio
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