Painting does not escape the conceptualists’ scrutiny it is often questioned as a means of artistic expression.Īt the same time, technological developments have made it possible to incorporate new elements of artistic expression. These trends are supported by a great number of art schools that are very keen on new aesthetical expressions. There is a resurgence of conceptual art, in which theorical discourse has great relevance. Topics such as nudity, eroticism and homosexuality are no longer forbidden. The liberation of morés and customs greatly influences artistic production. In addition to the contemporary mockery of consumerism, much of today’s artistic expression of social concerns deals with lifestyle and identity. Yet social concerns have often been on the periphery. An incipient muralist movement in the 1940s, stimulated by the Chilean sojourn of Mexican muralist David Alfaro Siqueiros, and the 1960s’ “art of denunciation” somehow contributed several artistic ways of interpreting the aftermath of the Pinochet coup (see below). At the beginning of the last century, the so-called Generación del 13 used painting to highlight social concerns by depicting local customs. The degree of social consciousness in art in Chile has varied in intensity over time. While many artists mock the consumer society and the search for easy and quick satisfaction, few concern themselves with the poverty, unemployment, and social and economic inequality that is part of modern Chile. Later, the artists produced another exhibition, Si vas para el Mall (If you go to the mall). An example is the well-received 1999 exhibition by Bruna Truffa and Rodrigo Cabezas at the National Fine Arts Museum, Si vas para Chile (If you go to Chile), taking its title from a well-known traditional folk song and making fun of consumer culture. Instead, some vent their criticism on the economic model, the free market and the consumer society. Only a few artists focus on the political and social context. They look to the future with a critical and constructive view, without hatred. Rather, this new generation of artists seek to understand the recent past without a sense of guilt or victimization. Chile’s contemporary artists do not cling to any particular ideology.
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