International Arts Residency Program

Javier González Pesce

April 29 - June 30 , 2019

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Points International Residency — Javier González Pesce


Points Center for Contemporary Art was honored to welcome artist Javier González Pesce on April 27th to begin his short-term residency of 65 days.
During Javier’s stay from April 27th to June 30th, Points will host the occasional opening of the artist’s studio for art salons and workshops. At the end of his stay, the artist will present the results of his residency in the form of an exhibition, which we will welcome all interested audiences to view. The artist’s interviews and activities will be presented here in our media accounts.

Javier González Pesce, artist and curator, was born in Santiago, Chile, in 1984 and currently lives and works in Santiago. Javier’s creation focuses on installation works and participation in public art. The artist uses his works to record history, focusing on the issues of human existence from ancient times to the present, and reawakening the public’s concern for the country’s society and politics. Javier’s art accommodates many aspects, from humanity itself to the environment we inhabit, exploring the essence of nature, with works mostly equipped with simple but strong visual images which convey tremendous energy.


[About the artist]
Born in 1984 in Santiago, Chile. Lives and works in Santiago.
BA, ARCIS University, Santiago, Chile.
MA, MAPS program at ÉDHÉA, Sierre, Valais, Switzerland.

2011 to now, director of LOCAL Arte Contemporáneo, independent art space in Santiago, Chile. In LOCAL, there have been more than 50 exhibitions, mostly curated by Javier González Pesce. LOCAL has participated in several international art fairs, such as ChACO (Santiago, Chile, 2012, 2014, 2015), Houston Fine Art Fair (Houston, USA, 2013), Just Mad (Madrid, Spain, 2014) and Expo Chicago (Chicago, USA, 2015).



“THE SILENCE BETWEEN SATELLITES AND SPIDERWEBS”, 2017
In the exhibition “THE SILENCE BETWEEN SATELLITES AND SPIDERWEBS”, the artist sets up a simple structure to reduce the space and time of the universe. The concept of the work revolves around the relationship between meteorites, organic life, and the global environment, and makes full use of open space to showcase nature’s intervention with the work. The audience is also able to interact with the work.


“THIS LAND IS SUCH THAN TO LIVE IN IT AND PERPETUATE THERE IS NO BETTER”, 2017
—Peruvian immigrants traveled from the Plaza de Armas to the top of Santa Lucia Hill in the capital Lima, each holding an image of his or her native sky, completing a collage of consciousness and form.
“THIS LAND IS SUCH THAN TO LIVE IN IT AND PERPETUATE THERE IS NO BETTER” comes from a letter that Pedro de Valdivia (a Spanish conquistador) wrote to the King of Spain to further finance his conquest of the American territories. This exhibition consisted of three works, each one of them reflecting on Chilean national territory and events in its history. The pieces deal with migration, the desperation of bodies in the sea during the dictatorship, and the bombing of La Moneda (the government palace).


“CLOUDS (TERRITORIAL REPOSITIONING OF AN IMAGE OF ORIGINAL VIOLENCE)” , 2018
“CLOUDS (TERRITORIAL REPOSITIONING OF AN IMAGE OF ORIGINAL VIOLENCE)” is a work commemorating the 45th anniversary of the Chilean coup. The artist transferred portions of images of the dust clouds of the bombing of La Maneda (the Chilean government palace) of the 1973 coup with the 14 flags of Chile, representing the regions next to La Moneda and commemorating the past by returning the images to their place of origin while echoing the sky images of his previous work.
The facial features placed in the ocean are allowed to flow and reorganize. The artist uses this work to metaphorize displaced immigrants during the dictatorship and explore the possibilities of sculpture in the ocean.


“THE ISLAND OF THE UN-ADAPTED”, 2018
In this work, the artist proposes a new understanding of “gravity.” The roof is assumed to be a static system. Gravity disintegrates the mobility of objects. Like an inactive island, remnants of the left behind are retired here.

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