What We Inherited
As the art world fixates on the global present, a new wave of Australian and Chilean artists, critics, and historians are turning backward—embracing archives, provincialism, and forgotten genealogies. Is resisting contemporaneity the most contemporary move of all?
By Verónica Tello
Issue 1, Summer 2023/24
For the better part of the year, I have been living in Santiago, a city currently gripped by an archival fever in its local arts community. It started in 2005 with the founding of the Centro de Documentación de las Artes Visuales del Centro Nacional de Arte Contemporáneo, which made archives from the dictatorial era (1973–90) available for the first time. The fever intensified in 2010 when the Centre digitised its collection. A slew of private and public institutions followed suit. These spaces have fuelled the appetite of younger artists, curators, and art historians who came of age in the post-dictatorship period and sought to wrestle the past they inherited. Santiago’s archive fever is driven by the desire to trace and imagine local art history, manifesting in dozens of books, exhibitions, and artworks.
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Anna Higgins’s work operates within a cinematic, layered logic of montage—an intricate interplay of history, memory, and materiality.
“It is no longer my face (identification), but the face that has somehow been given to me (circumstantial possession) as stage property.” — Jason Bahbak Mohaghegh, Omnicide: Mania, Fatality, and the Future-in-Delirium
