Portfolio Maria/Rosario Montero

Portfolio Maria/Rosario Montero
2009-2014
As an artist, I’m interested in the relation between people and material culture, how to portrait people’s identities. In this sense my practice is
framed by the used of anthropological tools that gives to it a special emphasis into the process of making. I photographed objects in space such
as rooms, kitchens, classrooms, shoes, clothes, sheets, pillows, and books, among others, to represent and displace them from their regular environment, giving them in this process a new meaning. Through a method of pre-established events/decisions making, the narratives around the
displaced objects start to appear, as do the elements which constitute the owner’s identity: age, sex, social condition and other more subjective
features, colliding in the process the relation between reality (indexical objects) and fiction (displace object narrative).
This process I call portraits in absence, and its central aim is to reveal (the construction of) identities within contemporary life that is responding
to an urgent need to represent identity in a hypermediated scene wherein photography has attained a central role in representing in a visual-poetical way the contemporary state of the individuals.
“Habitaciones Paranoicas”
“Paranoid Rooms”. Digital Photography. 2009, Chile.
The images presented in “Paranoid Rooms”
series portrait locations correspond to private
spaces of the more elite class in Chile. The series
portrays spaces such as bedrooms, kitchens,
classrooms, etc. which appears as a social
documents and portraits in absence of the people
who inhabit them.
The photographs are originated through a
succession of pre-established actions. The project
idea is ruled by imposed norms that constitute
a rigid, frontal, and symmetrical frame. This is
how in “Paranoid Rooms” the non-identical fixed
frame arises as a stable structure that builds,
through the series, the specialness of the scene.
Another aspect in the final act of the presented
work and seen by the viewer is generated by
the tensions produced between the formal
and conceptual relations of what appears as
public (exposed image) and the private (rooms
depicted).
The name of this series arose during its
“Paranoid Rooms”.
development as an answer to the excessive it, by photographing each of these
zealousness, the owners of the spaces different spaces, the owner of the space
showed in relation to the photographs is revealed in his or her absence.
taken. This is how through the visit to
each of the “paranoid rooms” and the
realization of this group of pre-established
actions this series came about and with
Exhibitions and publications
2010 Exhibitions
“Muro de Shangai”. Fotografía de Autor en Pabellón de Chile en Shangai.
“Fotografía Chilena Contemporánea”. Galería CCEM. SCL, Chile.
Taller Dittborn. Exposición Colectiva. Galería D21. SCL, Chile.
2010 Publication
Fotografía Chilena Contemporánea 02/CNCA. Chile.
“Ciudad Ideal” (Ideal City)
Fondart 2010 Grant.
“Ciudad Ideal”. Digital Photography. 2010, Chile.
The images presented in the series “Ciudad Ideal” (Ideal City), portray different houses belonging to suburbs built within the modern standards
of the city (super-modernity), such as efficiency,
economy and seriality. The series appears as a
social document and a “portrait in absence” of
the people who inhabit them.
The photographs are created through a
succession of pre-established actions. The idea
generated by imposed norms is what creates
the work, constituting a rigid, frontal, and
symmetrical frame; arises as a stable structure
through all the images of the series.
On the other hand, in this series all the post-production strategies are oriented to generate a
clean image, to devoid the picture of all dramatic
elements, preserving just the unique and distinguishing objects from each house.
“Ciudad Ideal: Resemblance Problems”. Digital Photography. 2012. UK.
Exihibitions
“Fotograma 11”. Montevideo, Uruguay.
2014
“Puro Chile, Paisaje y Territorio” CCM, Santiago, Chile.
2011
“Fotograma 11”. Montevideo, Uruguay.
“Xile, Fotografía y Convivencia”. Castillo de Montjuic.. Barcelona, España.
“Desviaciones”. Intervenciones en paraderos de micros, SCL, Chile.
“Antología Visual de Jóvenes Fotógrafos”. MAC Parque Forestal. SCL, Chile.
2010
“Territorios independientes”. Ciudad de México.
“¿El Paisaje Donde?” FIFV, Plaza de la Ciudadanía, Valparaíso Chile
Press and Publications
2012
“New Latin Look”. C Photo. Ivory Press. UK.
http://www.ivorypress.com/cphoto/en/issue/new-latin-look
2013
Bex Magazine. Dossier: Chile.
http://issuu.com/disenador/docs/especial_chile
2012
Ciudad Ideal en revista Muu, Argentina.
http://revistamuu.com/
Revista Paula
http://www.paula.cl/reportaje/el-lugar-que-habito/
La tercera
http://diario.latercera.com/2012/12/16/01/contenido/cultura-entretencion/30-125626-9-rosario-montero-la-fotografa-destacada-por-martin-parr.shtml
2010
Plataforma Urbana
http://www.plataformaurbana.cl/archive/2010/11/16/la-ciudad-ideal-en-fotos/
“Estado de Sitio”
(Besiegement)
“Estado de Sitio”. Digital Photography. 2011. UK.
“Estado de Sitio” arise as a first approach of the
concept of portraits in absence related to the
British culture, specifically the city of London
and its transport system.
This series is a collection of images inside the Underground Tube stations and hallways, through
which I construct visual structures of frontal
framing and geometric shapes given by the station´s architecture and decor. At the same time
of capturing the spaces, my intention is to reflect
about the sense of being under surveillance.
Exhibitions 2011 “Desviaciones”. Bus stops interventions in Santiago, Chile. Curated by Mane Adaro.
“No Way Out”
Sin Salida
“No Way Out”. Digital Photography. 2012. UK.
This series is a project that took form as a daily
observation of my near environment, a process
of appropriation of urban landscape. The images portrait several cities in Britain where riots
took place in 2011. Blind windows, traces of
past reconstructions, the brick as a symbol and
also a sign of difference in social condition, the
building as a mirror of the people that reside in
it. The images reveal not only marks of history
but also a form of constructed landscape of the
world that we are living in. My intention is to
transform daily objects into a spectacle of their
own reality. I create portraits of those who live
there, without showing them directly.
No Way Out is a personal view, a journey into a
new understanding of the landscape in which I
live in and also a new understanding of my long
term research on portraits in absence, with the
aim of revealing (the construction of) identities
within contemporary life.
Exhibitions and Presentations
2014 “What you see is what you get 2” Lequile, Italy.
FULL CONTACT. Scan Festival Tarragona. Spain
2013 “No Way Out” TINAG Festival. Bishopgate Institute. London, UK.
No Way Out: A taxonomy of Windows.
FULL CONTACT. Scan Festival Tarragona. Spain.
UNSEEN Photobook Aawrd 2014. Amsterdam.Netherland
Press
2013
Artishock
http://www.artishock.cl/2013/02/rosario-montero-en-relacion-a-sus-iguales/
Escanner Cultural.
http://revista.escaner.cl/node/6316
Foto Espacio
http://www.fotoespacio.cl/portal/index.php?option=com_content&view=article&id=1343:no-wayout-sin-salida-el-nuevo-proyecto-de-rosario-montero-en-londres&catid=1:latest-news&Itemid=50
Other Relevant Porjects
“Field Appropiations”. Digital Photography. 2012. NY, USA
Field Appropriation is a site-specific project made
in the context of The Triangle Art workshop. It
represents a visualization of data recorded by a
GPS device while walking aimlessly searching
for photographic subjects through the city. The
staggered line illustrates this experience, relating
and translating this transitory space. Likewise,
the images in Misappropriation.
“Dones Imaginados”. Digital Photography. 90 x 60 xm 2013, Wallington and Waddington.UK.
Imagined drones is a collaborative piece created
in the context of “Appropriated Instruction” a
group project that responds through a public
intervention that makes use of the notice boards
located outside the post-methodist building
in Wallington and Waddington. The project
began with a first visit to Waddington where
the presence of civilians arranging a public
demonstration brought to our attention the
fact that the nearby air force base was used
to send drones (unmanned aerial vehicles) to
Afghanistan.
In this context, the project took form of a
reflection on the secrecy that surrounds the
contested presence of this unmanned devices.
When asking people about drones, the most
common response was a vague awareness of the
term.
“Winter Camp”. Digital Photography. 2010, Valaparaiso, Chile
These series of images were commissioned by
the independent curator Mane Adaro for the
first Valparaiso International Photography
Festival (www.fifv.cl).
The images strive to find something that would
identify the city, beyond the images built as a
souvenir for travellers. Thus, the series attempt
to collect those day-to-day elements whose
commonplace condition makes them disappear
from the constructed and grandiose official
picture to become invisible landscapes.
The kiosks, closed and off-season (and thus out
of sight for tourists) are shown within a fixed
frontal and almost symmetrical framing. This
formal element unifies the series and translates
the spaces into the two-dimensional images as
a kind of geometric and visual inventory of the
port city.
1
Publications
I love Cachai. 2011. 10x 15, Chile/ Barcelona, Spain.
http://www.10por15.net/Swf/Num27/Numero_27.php.html?Lenguaje=ES
Parallel View 2006. Self Printed. With Verónica Ibáñez. Santiago Chile.
www.miradasparalelas.cl
C.V.
Rosario Montero
www.rmp.cl
EDUCATION
2013-
2012-2013
2004-2005
1997-2000
2003
PhD Cultural Studies, Goldsmiths, London UK.
MSc. Digital Anthropology . UCL. London, UK.
MFA Visual Arts. Universidad de Chile.
BFA Visual Arts. Pontificia Universidad Católica de Chile.
Diploma Digital Photography. Universidad Católica de Chile.
GRANTS/AWARDS
2013
2012
2012
2011
2010
Conycit . Chilean Government Scholarship. PhD in Cultural Studies. Goldsmiths.
Conycit Chilean Government Scholarship. MSc. Digital Anthropology. UCL
Artist en Residence. Triangle art. New York. USA
Default Artist en Residence. Radom Association. Puglia,Italy.
FONDART, Chilean Government arts grant. Consejo Nacional de la Cultura y Las Artes, Gobierno de Chile.
EXHIBITIONS
2014
2013
2012
2011
“In Transit / En Tránsito” Wellesley College.USA.
“Puro Chile, Paisaje y Territorio” CCM, Santiago, Chile.
“What you see is what you get 2” Lequile, Italia.
“Appropriated Instructions”. Broadcast Project. Wellingore and Waddington UK.
“What You See is What You Get” Galleria Spazio Giovani. Bari, Italy
“No Way Out” TINAG Festival, Bishopgate Institute. London, UK
“En la otra Cuadra”. Conversación de Campo collective. Chile.
“Xile:Fotografía y Convivencia” Barcelona, España.
“Fotograma 11”. Montevideo, Uruguay.
“Desviaciones” Photographic Intervention of Public Spaces. Santiago, Chile.
2010
2009
2006
2005
2004
2003
“Antología Visual”. Invited Artist. Museum of Contemporary Art. (MAC) Santiago.
“Territorios independientes”. México City.
“¿Dónde el paisaje?” . Valparaíso, Chile.
“Photography of the Country, Chile Image, Expo Shanghai, China.
“Identidades forzadas”. Centro Cultural Estación Mapocho. Santiago, Chile.
“Taller Dittborn.” Galería D21. Santiago, Chile.
”Cohortes” MAC. Parque Forestal .Santiago, Chile.
”Retratos: norte, centro, sur” .MHM. Santiago, Chile
“Ninguno” MHM. Santiago, Chile
“Retratos Familiares” Centro Cultural de España. Santiago, Chile.
“Modular” UDLA, Santiago, Chile
“Homenaje grabado Pablo Neruda”. La Sebastiana. Valparaíso
“Suple” . Pedro de Valdivia 2454. Santiago, Chile
“Tres Paisajes”. Galería Artium.Santiago, Chile.
Young Artist. Universidad de Valparaíso. Valparaíso
PUBLICATIONS
2014
2013
2012
2011
2010
2006
2005
2005 “Puro Chile” Catalogue Exhibition. CCPM. Santiago, Chile.
Ambit Magazine number 217 Section Summer Salon
Metales Pesados. Santiago. Chile. “Imagen Criolla. Prácticas Fotográficas en las Artes Visuales de Chile” (Creole Images. Photographic Practice in the Visual Arts in Chile ) by Nathalie Goffard.
C Photo, Ivory Press. “Emerging Latino-American Photography” (Curate by M. Parr)
10X15 Edition. “I love Cachai”. Chilean Photography. Barcelona, Spain.
CNCA. Santiago, Chile.” Contemporary Chilean Photography 02/CNCA”.
“Parallel View” Photography book of the Identity in Chile . Santiago, Chile
“Artes Visuales CCE 2004. (Visual Art CCE 2004) “Centro Cultural de España.
“Suple”. Editorial Silla Blanca. Santiago, Chile.