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The immersion in the vast photographic work of Paz Errázuriz (Santiago, 1944) continuously appeals to the political and social context of Chile. Since the seventies, after the coup d’etat of Pinochet and the brutal establishment of the dictatorship, his eyes searched the streets for the answers to the deafening silence. And he found them over the years in the faces captured in black and white of many individuals who did not fit with the traditional norms of behavior: unprotected people who slept in the open, men and women confined in psychiatric, members of poor circuses, transvestites persecuted by the police …

This social and collective commitment was also reflected in the decision to found, in 1981, together with colleagues, the Association of Independent Photographers (AFI).

His journey in nothing is conventional: self-taught, Errázuriz launched the use of photographic technique without referents or models moved by the imperative need to explore those human realities bordered by hegemonic representations. As it progressed in its trajectory, the documentary photography that it had created was without a doubt the fruit of an uncommon method of work based on the coexistence with the individuals portrayed, in the confidence generated by the human touch, in the shared time, in mutual respect

The arrival of democracy in his country, since 1990, did not diminish the investigative capacity of Paz Errázuriz. Her feminist consciousness, revealed in the previous decade, led her to undertake a series dedicated to making visible the work of Chilean women. It was also at that moment when he met Jérawr-Asáwer, a pure descendant of the Kawésqar Fuegian ethnic group with whom he had an intense relationship from which the series The Nomads of the Sea would emerge, in which he captured fragments of life of a population and a culture indigenous peoples in danger of extinction.

In his most recent production, Paz Errázuriz continues to tackle thorny issues and unique stories. This is the case of a set of photographs that address the daily passage of people with achromatopsia, the light that blinds me, and also the series in color dedicated to female prostitution, Muñecas, Chile-Peru border.

The look of this artist stands out for penetrating into the most uncomfortable recesses of Chilean daily life, producing a micropolitics of the image in which countless subjects appear whose life experience, displaced from the majority centrality, interrogates the spectator breaking their schemes.

The exhibition gathers more than 100 works (photography and videos) and documents that allow to traverse retrospectively the different sections that compose it, arranged chronologically and thematically.

Juan Vicente Aliaga | Curator


Museo Amparo



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