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Dislocacion Project
Radio Ideal

Radio Ideal consist on the construction of a trailer, similar to a house trailer and in situ presentations through an autonomic system of amplification on different points of Santiago city.
This project is based on the functioning that clandestine radios had during the military dictatorship in Chile and currently how are they operating the communal radios that fulfill the function of representing the inquiries and necessities of a social sector at a very reduced scale.

For Dislocacion, Radio Ideal pretends to include on different ways all the pieces of work of the exhibit proposing a series of programs and the formal and constructive reprocessing of the trailer (Radio Ideal) from the debris or elements that the artists have considered useless to complete their pieces of work. Thus, Radio Ideal pretend to be rebuilt and to consider all the exhibit as a series of substation that allow to understand the dislocation as a deviation of the original radio.

One of the main concern set out by Radio Ideal, is in tune with the expressed by Regis Debray in his book Transmit. There he refers to the substantial difference between transmit and communicate, where the first is placed on a field tightly related with time, while the second one copes  with total ease in what we fully understand as space.

So, transmit is a momentum, a temporary stadium where the facts flow and then are crossed. Is not the same regarding the communication of this facts, that through a contemporary rigor, they must communicate almost simultaneously on the momentum of his execution. That is why the memorial factors (resistance to the dictatorship) to which he initially mentions in the project Radio Ideal are from a technical point of view and above all sentimental, a system of epistemological cross over, a mechanism that looks with the distance of time the memories of the seventies and eighties in Chile, reprocessing them and re-contextualize on 2010.

Then Radio Ideal is not a mean of communication, because more than perform interviews or report about Dislocacion, its purpose is inside a retrospective programming about the creative processes that allowed to develop and show the pieces of work that currently form Dislocacion.

Mario Navarro 1970

Mario Navarro lives and works in Santiago, Chile. Currently he works as member of the faculty of the School of Art of the Pontificia Universidad Catolica de Chile. On 2009 and 2010 he has participated as a visitor professor at the HISK (Higher Institute for Fine Arts), Belgium and he has participated on the biennales of Liverpool (2006), Sao Paulo (2006) and La Habana (2010) among others.

He has participated on the collective exposiciones (2010) AFUERA!, Córdoba, Argentina, (2010) La isla Absoluta, Galería Florencia Loewethal, Santiago, (2010) Chili, l'envers du décor, Space Culturel Louis Vuitton, Paris (2009) Colección del Consejo de la Cultura y las Artes, El obtuso objeto de conocimiento, Museo de Arte Contemporáneo, Santiago (2009) X Bienal de La Habana, Cuba, (2009) Feria Zona Sur MACO, DF, Mexico, 41 Salón Nacional de Artistas, Cali, Colombia, (2008) International Triennial in Praha, República Checa;  (2008) Cartografías Disidentes. Museo de Arte Contemporáneo, Santiago  de Chile and Centro Cultural Sao Paulo, Brasil. (2007), Les Rencontres Internacionales. Centre George Pompidou, París. 

As a curator he has carried out El Árbol Magnético en la VII Bienal de MERCOSUR, Porto Alegre, Brasil (2009) y Daniel Lopez Show, White Box y Roebling Hall Gallery, New York, Estados Unidos. He is currently curator of the Museo de la Memoria y Derechos Humanos en Chile.

Throughout different methodologies, Mario Navarro proposes installations based on historical or literary references. Social models due to the isolation and the symbolic distance that become on the diagrams that create the scenarios of the Chilean and Latin-American politics.

He has recently explored a number of projects regarding to technological infrastructure implemented in South America that have as a common root the explicit desire to set out the utopia of the total development. Projects such as “Isla Huemul in Bariloche, where the creation of the nuclear fusion at the beginning of the 50’s was proposed, or Cybersyn in Chile, that created a prototype of a computerized communication system at the beginning of the 70’s during the government of Salvador Allende, are the result of experiences that allow us to see the erratic and winding development of history in Latin-American.

www.marionavarro.cl

/ Created and curated by Ingrid Wildi Merino in Santiago, Chile and curated by Ingrid Wildi Merino and Kathleen Bühler at the Kunstmuseum Bern, Switzerland. wildimerino.curatorial@gmail.com