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The images torn from the walls and ramparts of the scrambled Santiago have as their first condition that of being collective visualities. Who or who printed on that vertical support infinities of portraits, slogans, legends, posters, in the manner of a collage that stages the multiple forms  of a crowd that expresses its anger, discomfort and desires, they are now anonymous, as is usually the voice of the people or better said “of the peoples”.

This collage has been built using different materials that are printed in an extensive iconographic gallery not exempt from the legal resource. It is that mosaic that combines micro-discourses that account for the moods of those who live in the city, an amalgam of figures where the world of the letter is coupled as part of that visuality to circulate senses that compromise a retention process tertiary or memory, of those violent days, so full of hope.


Leonel Yanez Uribe


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