• Installation

  • Performance


By Colectivo Nominados


  • Spanish
  • 72 hours (it takes place over three days)
  • General Audience

Anyone who’s been to the south of Chile knows that everyday life there revolves around fire. This installation-performance looks into an age-old tradition that has lasted well into modern times.

Retazos: Cartografía sensible del sur is a play that invites us to reflect on how public spaces are used by installing a wood-burning stove in public that is kept alight for three whole days. It’s used to cook on and to carry out symbolic actions alluding to the territory’s memory. This stove is accompanied by parts of an old ladder, a flojo (a bench placed by the side of stoves in the south) and hybrid puppets that will be used during the performance.

At a time of mass production, malls, salmon fisheries and tourism that has lost its human touch, Retazos… is an invitation to connect with the essence of the far south.

Cast and crew

Performers: Jonathan Alvarado, Karin Encina, Cristian Igor | Sponsored by: Espacio Flor de Agua.

Colectivo Nominados

Colectivo Nominados

By the seaside

This group is the result of a meeting between three artists dedicated to different performing arts disciplines in the far south, who were randomly nominated to take part in a creative experience. In this context and at the same time as the pandemic was developing, they began sharing their experiences, memories and losses, bringing to the surface the remnants of narratives from the territories they’re part of at the end of the world.

—Find out more about the new generation of artists from the south through three of its key figures: graphic designer, dance teacher, dancer, choreographer and stage artist Karin Encina; playwright, director and actor Jonathan Alvarado and actor, puppeteer and set designer Cristian Igor. These three are well-known on the performing arts scene in Puerto Montt, with each one contributing something specific depending on their interests to create this installation-performance together.

—The simple premise is full of meaning and empathy, installing what they call ‘sensitive cartography’ at a specific site for three days in order to reclaim spaces that are part of the south’s collective memory. If there’s something that the inhabitants of this part of Chile know, it’s how commonplace fire is, even in the summer. It’s characteristic of a population that spends its days around a wood-burning stove or heater.

Wood-burning stoves: In his ethnographical study in 1971, anthropologist Carlos Munizaga highlighted the importance of the kitchen as an informal place for people to get together in the homes of southern Chile. He described the kitchen as a place that offers protection from the inclement southern weather; it’s also somewhere that deals are done, with marriages and baptisms being arranged there for years. It’s a safe place for the family - if a visitor isn’t that well-known to the hosts, they’ll only make it as far as the lounge. Lastly, it’s a cultural place, where stories, legends and myths are told, unlike anywhere else in the house.

Artistic installation: This contemporary art genre emerged in the sixties as a result of the understanding that the play itself will always win out over any formalities. From the very beginning, installations have questioned the limits of art and have been linked to reflection on museums, markets and exhibition spaces. They connect a creation to a specific place, establishing themselves in it and giving it value. They can be permanent or short-term and usually require audience participation and involve objects of any shape and form, including intangibles or mixtures. Theorist Ilya Kabakov distinguished three types of installations: small ones (like shelves), those fixed to a wall and covering part of the floor and full ones, using the whole space.

Supported by

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