OPENING 2 October IN SANTIAGO
A self-portrait is more than just a photograph of oneself; it measures the emotional, aesthetic, and political distance between the self-photographed subject and their surroundings, understood as a context of meaning.
Pixel Terror (1982) is a modular system designed for self-portraiture, a staged performative act validated in the exhibition spaces of major museums. The solitary act of self-portraiture, which borders on an almost onanistic exhibitionism and occurs within overcrowded museums, speaks of a dialogue with the works used as demonstration models. It also reflects the exposure of the artist's body within the work being created in this process.
The artist, a man from the cultural margins of Latin America who has survived the cultural violence of a dictatorship, stands neutral before the capturing device that points at his face, which he triggers himself in an act of cultural self-immolation.
Carlos Gallardo, artist.
Santiago, 2024
