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3 weeks ago | 
artforum.com | Juan José Santos
We approach a dark passageway, lit only by the red of a scrolling LED sign advertising a musical spectacle: “Espelho do poder” (Mirror of Power). But this is not a nightclub or a ballroom. Once we pass through the hallway, a dance show awaits us with sound, disco smoke, and pulsating lights on a large screen at the end of the room.
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1 month ago | 
artishockrevista.com | Juan José Santos
Tal como se dijo, se hizoMuchas veces he escuchado aquello de que “no hay que tomarse las cosas al pie de la letra”. Pues todo en esta inposición (sic) está al pie de la letra. Pies sin letras, o letras sin pie. La Columna de opinión (2025) es un (sic) de libro. O de manual. O de diario de noticias. Se acumulan los argumentos en contra y a favor, los que sustentan el debate civil. Con tanta literatura literalmente las palabras se han quedado ocultas, solo queda el soporte.
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Mar 21, 2025 | 
artishockrevista.com | Juan José Santos
Esta exposición está pensada para un espectador que no sólo acude a una sala de arte para ver obras, sino que es capaz de, durante o después de la visita, verse a sí mismo. David Corvalán, Marcela Moraga, las mujeres del taller textil Suyis Liq´ cau, Carolina Alma junto con las niñas y los niños de la Escuela San Francisco de Chiu Chiu y Jairo Villalobos, todas y todos han pensado en estos términos discursivos.
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Mar 1, 2025 | 
artforum.com | Juan José Santos
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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Feb 28, 2025 | 
artishockrevista.com | Juan José Santos
Por Juan José Santos | CuradorEntre los trabajos que ha realizado Carolina Muñoz en los últimos dos años, están los resultantes de sus paseos por un mercado de Chile, donde, entre las verduras, las frutas y la venta de paraguas en días de lluvia, cohabita un buen surtido de personajes pintorescos. Muñoz los observa, los estudia, y los memoriza, pero algo sucede en el camino entre el mercado y su taller. Algo sensible.
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Oct 31, 2024 | 
artforum.com | Juan José Santos
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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Oct 13, 2024 | 
artishockrevista.com | Juan José Santos
Yma Súmac, la denominada última princesa inca descendiente de Atahualpa, subida a una pirámide truncada de cartón-piedra, canta con una voz sobrenatural frente a un ejército de actores con tocados de plumas de colores, semidesnudos. Arrodillados y seducidos por las letras inventadas y el sonido de los tambores, adoran a Súmac con un sol naranja y violeta pintado sobre el Machu Picchu de fondo.
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Sep 30, 2024 | 
artforum.com | Juan José Santos
Federico Assler, born in 1929, is the grand old man of Chilean sculpture. Viewers here are familiar with his enormous concrete sculptures in public spaces all over the country, but the exhibition “Impulso vital” (Vital Impulse), focusing on small-format works using fragile and precarious materials, along with preparatory drawings, was a revelation. The word used by its curator, Ramón Castillo, to describe it was justified: The show was a micro anthology.
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Aug 31, 2024 | 
artforum.com | Juan José Santos
“He ate up all of my body’s calcium. My teeth were falling out one by one. I lost all the blood I had in my body and I bled out twice.” These brutal words, with which Carlos Leppe’s mother described his birth, came from a video screened on an old television set that viewers encountered before entering his retrospective exhibition “El día más hermoso” (The Most Beautiful Day).
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May 31, 2024 | 
artforum.com | Juan José Santos
For Juan Dávila’s exhibition “Contrato social (trilogía chilena)” (Social Contract [Chilean Trilogy]), the warehouse space of Matucana 100 has been transformed into something halfway between an immersive diorama depicting some heroic battle scene and a mirror maze in a provincial amusement park. On display are three large cubic structures, each with space for no more than ten spectators, who can access the cubes’ interiors through doors.
