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Venue: KW Institute for Contemporary Art
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Museo de la Memoria y los Derechos Humanos [Museum of Memory and Human Rights], Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1988 in Santiago, CL – lives and works in Santiago
In the work of Mapuche artist Paula Baeza Pailamilla, urban public spaces are occupied by the bodies of Indigenous women in actions that address a condition of invisibility in the context where they live today, displaced from their originary territories. For Kurü Mapu [Black Land, 2018], the artist invited other Mapuche women to collectively weave an imaginary map of Ngulu Mapu, their ancestral territory violated by Spanish colonization. The map was made with different types of dark-colored yarn over a two-month period at the Museo de la Memoria y los Derechos Humanos (Museum of Memory and Human Rights) and the Huelen Hill in Santiago de Chile. Present in the map, the women’s outfits, and the work’s title, black is a sacred color for the Mapuche that signifies purity and fertility and is used ceremonially by women.
The work encompasses the process of collective weaving, the gatherings of the women in the public spaces, and the exchanges that took place among them. In the exhibition, the piece is presented through the woven map and a video that documents their meetings. The film shows the women taking the map to the Plaza de Armas, in the heart of Santiago, and standing on it with their bare feet, a symbolic act of confronting a state that has systematically worked towards the annihilation of the Mapuche people. Towards the end of the video, we hear the voices of the women referring to another Mapuche woman, Macarena Valdés, to whom the work is dedicated. Valdés, also known as “La Negra,” was murdered in 2016 while fighting the construction of a cross-border hydroelectric power plant on Indigenous lands. The case remains unsolved by Chilean authorities.
Beatriz Lemos
COVID-19 VIDEOS
Carlos Motta
Video
Museo de la Solidaridad Salvador Allende (MSSA) in Berlin
A conversation between María Berríos and Melanie Roumiguière
Conversation
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
O Bailado do Deus Morto
Flávio de Carvalho
Play
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
Memorial to the Sinti and Roma of Europe murdered under National Socialism, Berlin, photos: Alex Ostojski
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Museo de la Memoria y los Derechos Humanos [Museum of Memory and Human Rights], Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1988 in Santiago, CL – lives and works in Santiago
In the work of Mapuche artist Paula Baeza Pailamilla, urban public spaces are occupied by the bodies of Indigenous women in actions that address a condition of invisibility in the context where they live today, displaced from their originary territories. For Kurü Mapu [Black Land, 2018], the artist invited other Mapuche women to collectively weave an imaginary map of Ngulu Mapu, their ancestral territory violated by Spanish colonization. The map was made with different types of dark-colored yarn over a two-month period at the Museo de la Memoria y los Derechos Humanos (Museum of Memory and Human Rights) and the Huelen Hill in Santiago de Chile. Present in the map, the women’s outfits, and the work’s title, black is a sacred color for the Mapuche that signifies purity and fertility and is used ceremonially by women.
The work encompasses the process of collective weaving, the gatherings of the women in the public spaces, and the exchanges that took place among them. In the exhibition, the piece is presented through the woven map and a video that documents their meetings. The film shows the women taking the map to the Plaza de Armas, in the heart of Santiago, and standing on it with their bare feet, a symbolic act of confronting a state that has systematically worked towards the annihilation of the Mapuche people. Towards the end of the video, we hear the voices of the women referring to another Mapuche woman, Macarena Valdés, to whom the work is dedicated. Valdés, also known as “La Negra,” was murdered in 2016 while fighting the construction of a cross-border hydroelectric power plant on Indigenous lands. The case remains unsolved by Chilean authorities.
Beatriz Lemos
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
Glossary of Common Knowledge
L’Internationale Online
Glossary
THE MOBILIZATION
Nicolás Cuello
Text
#fight4rojava
Graffiti
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
O Bailado do Deus Morto
Flávio de Carvalho
Play
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Venue: KW Institute for Contemporary Art
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Museo de la Memoria y los Derechos Humanos [Museum of Memory and Human Rights], Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1988 in Santiago, CL – lives and works in Santiago
In the work of Mapuche artist Paula Baeza Pailamilla, urban public spaces are occupied by the bodies of Indigenous women in actions that address a condition of invisibility in the context where they live today, displaced from their originary territories. For Kurü Mapu [Black Land, 2018], the artist invited other Mapuche women to collectively weave an imaginary map of Ngulu Mapu, their ancestral territory violated by Spanish colonization. The map was made with different types of dark-colored yarn over a two-month period at the Museo de la Memoria y los Derechos Humanos (Museum of Memory and Human Rights) and the Huelen Hill in Santiago de Chile. Present in the map, the women’s outfits, and the work’s title, black is a sacred color for the Mapuche that signifies purity and fertility and is used ceremonially by women.
The work encompasses the process of collective weaving, the gatherings of the women in the public spaces, and the exchanges that took place among them. In the exhibition, the piece is presented through the woven map and a video that documents their meetings. The film shows the women taking the map to the Plaza de Armas, in the heart of Santiago, and standing on it with their bare feet, a symbolic act of confronting a state that has systematically worked towards the annihilation of the Mapuche people. Towards the end of the video, we hear the voices of the women referring to another Mapuche woman, Macarena Valdés, to whom the work is dedicated. Valdés, also known as “La Negra,” was murdered in 2016 while fighting the construction of a cross-border hydroelectric power plant on Indigenous lands. The case remains unsolved by Chilean authorities.
Beatriz Lemos
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
Freiheit für Chile!
Anonymous
Photo album
St Sara Kali George
Delaine Le Bas
Soundscape
Memorial to the Sinti and Roma of Europe murdered under National Socialism, Berlin, photos: Alex Ostojski
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
COVID-19 VIDEOS
Carlos Motta
Video
Grupo Experimental de Cine en acción
Gabriel Peluffo
Drawing
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Museo de la Memoria y los Derechos Humanos [Museum of Memory and Human Rights], Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1988 in Santiago, CL – lives and works in Santiago
In the work of Mapuche artist Paula Baeza Pailamilla, urban public spaces are occupied by the bodies of Indigenous women in actions that address a condition of invisibility in the context where they live today, displaced from their originary territories. For Kurü Mapu [Black Land, 2018], the artist invited other Mapuche women to collectively weave an imaginary map of Ngulu Mapu, their ancestral territory violated by Spanish colonization. The map was made with different types of dark-colored yarn over a two-month period at the Museo de la Memoria y los Derechos Humanos (Museum of Memory and Human Rights) and the Huelen Hill in Santiago de Chile. Present in the map, the women’s outfits, and the work’s title, black is a sacred color for the Mapuche that signifies purity and fertility and is used ceremonially by women.
The work encompasses the process of collective weaving, the gatherings of the women in the public spaces, and the exchanges that took place among them. In the exhibition, the piece is presented through the woven map and a video that documents their meetings. The film shows the women taking the map to the Plaza de Armas, in the heart of Santiago, and standing on it with their bare feet, a symbolic act of confronting a state that has systematically worked towards the annihilation of the Mapuche people. Towards the end of the video, we hear the voices of the women referring to another Mapuche woman, Macarena Valdés, to whom the work is dedicated. Valdés, also known as “La Negra,” was murdered in 2016 while fighting the construction of a cross-border hydroelectric power plant on Indigenous lands. The case remains unsolved by Chilean authorities.
Beatriz Lemos
Grupo Experimental de Cine en acción
Gabriel Peluffo
Drawing
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
THE MOBILIZATION
Nicolás Cuello
Text
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.