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Todos los derechos reservados. Prohibida la reproducción parcial y/o total. Conforme a la Ley N' 17.336 sobre Propiedad Intelectual en Chile. EL ROS;l'ItO OUE MA­ RECJt~El!rE$TA pJlolTtJ'RA AalOPO$TAL D EL l\Q$TJ\O DE UN ABOJUOItN DE TmIUlA DEL PUl:Oó t.LIi:VADO ltN 1829 DESDE EL EX­ TRJlMO AUSTRAL DE ~CA DEL SUR A LONDRES A BOJU)() Dmo "BltAOt.¡¡;,,· POR SU CAP! TAN ROBERT trITZ·RQY. aOJEN LO COMPRO POR UNOS CUANTOS BOTO­ JO:S y LO LLAMO .ntMMY BUT1"Ol\l•

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• • • "Dittborn's oir moil pointings: AIR MAIL PAINTING NO. 49 the invention of o genre" TillE: JEMM Y BUTTON YEAR OF PRODUCTlON: 1986

by Guy Brett SIZE OF WORK : 154 X 210{M

If I am especially cansciaus of being an English TECHNIQUE: BUTTONS, WOOL, person, sitting in Brixton, South London, writing FEATHERS, PAINTlNG AND about the work 01' a Chilean artist which will be PHOTOSILKS{REEN ON WRAPPING shown in Australia, it is because Eugenio Dittborn brings about thi s kind 01' linking. The other day, with two others, PAPER. we unwrapped, laid out and photographed one of Dittborn ' s ITINERARY : AirMail Paintings on a street in the East End of London. It 1 E. DITTBORN, STGO DE {HILE, contained an image 01' " Jemmy Button", an indigenous DECEMBER 1986 inhabitant of who was ' bought ' by the Captain of 's ship "The Beagle" (for a few 2 {HILE VIVE, PALACIO DE BELLAS buttons) and brought to London in 1829. To the British a ARTES, MADRID, SPAIN, FEB 1987 specimen. a mascot perhaps. And to himself? Dittborn 3. {HILE VIVE, {ASA ELlZALDE, wanted us tO ,record Jemmy Button's return 150 years later in another conveyance: an AirMail Painting. BARCELONA, MAR{H 1987 I have had two other sightings of Dittborn ' s work: once in 4. 3. DITTBORN, STGO DE {HILE, his house in when paintings were unfolded and {HILE, JULY 1987 spread out on the f1oor, and another watching a videotape in London when the camera panned round an exhibition af his 5. {HARLES MEREWETHER, AirMail Paintings in a gallery in Santiago. Curiously enough AUSTRALlAN {ENTRE FOR this last, most mediated g limpse, struck me forcefully. When PHOTOGRAPHY, AUGUST 1987 Dittborn's AirMail Paintings were hung together 1 realized that he is working with a new kind 01' ' composition', a new 6. E. DITTBORN, {HILE, MAR{H 1988 way of struc turing. No one work, no part 01' a work, has any 7. LUIS LAMA, CENTRO CULTURAL real stability. They are shifting inventories where found DE LA MUNI{IPALlDAD DE images rccuJ". always moving into new proximities or isolations. a nd where the compartments implied by the folds MIRAFLORES, LIMA, PERU, may hold an imuge or may be simply exceeded by wandering NOVEMBER 1988 lines or stitches. Hand painted marks also move across the 8. E, DITTBORN, STGO DE {HILE, given figurative image ry, veiling and un vei ling with another logic. {HILE DE{EMBER 1988 This structuring is new in that it seems to indicate. not a 9. GUY BRETT, LONDON, ENGLAND, compulsive desire to produce 'one 's own ' art work, to MAY 1989 master one's m eans, to create a world. but a sifting, a paying of attention to every kind 01' g raphic phenomenon - a stain. a 10. E. DITTBORN, STGO DE {HILE, newspaper photo. a stitch , a fold. a graffiti - and one's {HILE, AUGUST 1989 e ncounte rs w ith them in the course of living. Clearly, Dittborn's inte rest in these phenomena is not formalistic or simply aesthetic, for the graphic mark is also alife-trace. It is always paradoxically an indicator both 01' presence and absence, ex istence and oblivion, destruction and survival. In Dittborn 's work , the frailty o r persistence 01' the graphic means is linked with that 01' the body, the persono Without superficial express ivity or polemic, he makes us think deeply again about the re lationship between painling and human life. This is no t 0 1' course a mere specialist or professional matter, s ince it implies the relationship of the intellectual to the m ass 01' people, and extends to the whole problem of the connection between 'mediation and 'Iived experience'. The artist practices a kind 01' mediation. A study of Dittborn 's strategies: in this respcct could begin with his inve ntion oi" a genre: lhe AirMail Painting. The AirMail Painting could be understood at one level as a rejoinder, a riposte, to the prevailing art system, and one devised specifically by a n artist working at its periphery, in the so-called Third World. Made 01' cheap material s, easily transported, evading the imperatives of the art market, insubstantial , il arrives to unfold and occupy a substantial amount of the hotly-contested space of the cultural AIR MAIL PAINTING NO. 11 metropo li s. lt a lso, in the process, refuses to be seen as a TITLE: TO FIND (THE SWIMMER, THE fI oating, neutra l, internationa l cultural commodity, since it s po int of ori gin in Chile and its journey to another part of the MUMMY) world is exhibited as part of it (v ia the envelope with its YEAR OF PRODUCTION: 1985 postal frankings, li st of previous journeys, etc). SIZE OF WORK: 154 X 210 CM "Transperiphery" accurate ly describes Dittborn 's activity in the past four years with AirMail pa intings ex hibited in TECHNIQUE: BLACK INK, FEATHER, Australia, , Colombia, Peru , Ec uador, Canada, PAINTlNG, CORD, WOOL AND PHOTO Cuba and East Germany. One begins to reali ze, however, SILKSCREEN ON WRAPPING PAPER. that there are al so other, more enigmatic and suggesti ve leve ls of the AirMail Painting. ITINERARY : ' In transit ': what is this state exactly? T he journey impli es a 1. E. DITTBORN, STGO DE CHILE, fixed po int from which the person o r obj ect o ri g in ated, and a CHILE, JUNE 1985 destinati on. It implies locality, habitati on, dome ti cati on, stratificati on, sedimentati on (an idea often indicated by the 2. GEORGE PATON GALLERY, arti st in hi s AirMa il pa intings by a small house symbol). On MELBOURNE, AUSTRALIA, JULY 1985 the other hand, moti on, travell ing, carryin g, vagabondage is 3. CHAMELEON GALLERY, HOBART, a lso a sort o f primordi al state. The A irM ail Pa inting, as Dittborn himself po ints o ut , is onl y an extension of the first TASMANIA, AUSTRALIA, SEPTEMBER bag (and, beyond that, of the kangaroo's pouch, or th e 1985 womb). And it is not onl y the 'work' that travels. T he 4. GALERIA BUCCI, STGO DE CHILE, images Dittborn uses are themselves c irc ul ating, and moving between the states of be ing ' Iost ' and 'found', forgott en and CHILE OCTOBER 1985 remembered. The surface in thi s sen se beco mes a temporary 5. ADELAIDE FESTIVAL, resting-pl ace of signs whi ch are travell in g thro ugh space and EXPERIMENTAL ART FOUNDATION, through time. It seem s to me that Dittborn, in hi s meditati on on the ADELAIDE, AUSTRALIA, MARCH re lationship o f the graphic mean s to human li fe - not as a 1986. genera li zed problem but in the here and now of hi s s ituati on 6. INSTlTUTE OF MODERN ART, as a Chil ean arti st in the late 20th century - plu nges to the heart of a paradox, a double meaning. Pai nt ing deals wi th BRISBANE, AUSTRALIA, JULY 1987. the transitory, the fleeting, the "q ui verings" of life. as 7. ART GALLERY, CLEVELAND STATE Mati sse said . At the same time painting becomes pan of a UNIVERSITY, OHIO, U.S.A., 1988. traditi on, a world -v iew, a cultura l hegemony whi ch may be imposed was an act of power (as the European pictoria l 8. GEORG E PATO N GALLERY, traditions as im posed in Latin Ameri ca after th e Conq uest). MELBOURNE, AUSTRALIA, MARCH Photography too rescues a moment of li fe from obli vion, but 1988. also fi xes it in profoundly 'social' ways. A ll technical advances in graph ic represent ati on (photography, video) are 9. E. DITTBORN, STGO DE CHILE, also advances in c riminology, surveillance and contro l. CHILE, AUGUST 1988 Photography, as Walt er Benjamin po inted o ut in one of his 10. LUIS LAMA, CENTRO CULTURAL essays on Baudela ire, superceded the signatu re as a means of identificati on, and was " the most decis ive of all conq uests of MIRA FLORES, LIMA, PERU, 1988 a person 's incognito." T he who le concept of the in cogni to 11. E. DITTBORN, STGO DE CHILE, oscill ates between freedom and un freedom. When Dittborn CHILE, 1988 uses photos of ind igeno us inhabitants o f Tierra de l Fuego, found in a book of the I 920s, or poli ce photos o f Chi lean 12. GUY BRETT, LONDON, ENGLAND, petty crimina ls from police fil es found in cheap detecti ve MAY 1989 magazines of the 1950s, or forgott en sport s figures fro m 13. E. DITTBORN, STGO DE CHILE, newspapers, we fee l strong ly these opposing senses. The photographic image is both " the materi a l trace of people CHILE, 1989. who have left no trace in the offic ial hi story of [Chilean] society", as Adriana Va ldes has described it , and at the same time the indicator of the ir 'capture ' and subord in at ion. Dittborn does not try to resolve so much as to make us feel and think about this dilemma. He produces a space in which no one discourse has hegemony: ne ither the European tradition of fin e art, nor the state's classificati ons, nor the artist 's ' will to form '. Nor is a particular medium - photography, pa inting, hand-writing, print, coll age privileged abo ve the olhers. All this has bl own open Ihe

AIR MAIL PAINTlNG NO. 48

TillE: 9 SURVIVORS

YEAR OF PRODUCTI ON 1986

SIZE OF WORK : 154 i '1 10 CM

TECHNIOUE : BLACK I~' FEATHERS ,

PAINTlNG , STlTCHIN G l ND

PHOTOSILKSCREEN ON WRAPPING

PAPER .

ITINERARY :

1 E. DITTBORN , STGO DE CHILE,

DECEMBER 1986

2 CHILE VIVE , PALACIO DE BELLAS

ARTES, MADRID, SPAIN, FEBRUARY

1987

3. (HILE VIVE, CASA ELIZALDE,

BARCELONA, MARCH 1987

4.3. DITTBORN, STGO DE CHILE,

CHILE, JULY 1987

5. CHARLES MEREWETHER ,

AUSTRALIA N CENTRE FOR

PHOTOGRAPHY, AUGUST 1987 between 'photography' and ' drawing ', modes which are 6. E. DITTBORN, STGO DE CHILE, counterposed with great s implicity and concentration. We face the faces and ¡he faces face us in two very different CHILE, MARCH 1988 ways. [n the drawings by Dittborn's 7 year old daughter 7. LUIS LAMA, CENTRO CULTURAL Margarita we seem to see, conceptualised as ' faces', the DE LA MUNICIPALIDAD DE quiverings of life, directly out-going; whereas in our confrontation with the photographed faces, we cannot miss MIRAFLORE5, LIMA, PERU, the determinants and consequences of c lass, power. NOVEMBER 1988 contingency, history . .. 8. E. DITTBORN, 5TGO DE (HILE, Through both sets of faces filters the mate riality of the support. Dittborn is now using a new s urface in place of CHILE DECEMBER 1988 brown wrapping papel', something hybrid, soft and 9. GUY BRETT, LONDON, ENGLAND, lightwe ight, and having no connotations with art. Whe n [ MAY 1989 unfolded thi s work, [ s udde nl y thoug ht of how the first canvases mus t have appeared in the days of murals and 10. E. DITTBORN, 5TGO DE (HILE, altarpieces. CHILE, AUGU5T 1989 So we too as receivers of an AirMail Painting or ~ pectators at a Dittborn exhibition participate in discontinuities and the paradox of distance and c loseness. [n England something of Chile's traumatic rece nt hi story is known to quite a wide range of people. [n our own particular c ircles, those of avant-garde art and experiment, there is on the one hand a d istance between artists in Britain a nd Chile brought about by the realities of the g lobal power structure, and on the other a close rapport which comes from shared attempts to extend the languages of art beyond the academic and official norms. When the documentary exhibit " Margins and lnstitutions" (on avant-garde art in Chile s in ce the 1973 coup) was shown in London recently (it wa originally prepared in 1986 for the Adelaide Festival), it broke the art world barriers and it gave a new meaning to that rapport. It Footnote: was immediately comprehensible as the response by 1. Part of the title of the exhibitian was altered from individual artists to specific, local and overwhelming "Transperiphery' to "Transperipheria' historical events, and, at the time, as the only way Ihe Chilean artists as a collectivity could represent themselves in their own terms at the cultural centre. One felt intensely the meaning of their self-question: Que vamos a hacer? It was as if the challenge to 'art ', as an LIST OF institution and a set of protocols, became inseparable from an attempt by intellectuals to move c\oser to the experience of the mass of people - just at a moment when the military regime was trying to . cement social, geographical, sexual demarcations more rigidly than ever. This is felt in WORKS Dittborn 's paintings, in the performances of Carlos Leppe and others, in Lotty Rosenfeld's interventions in the street, AIR MAIL PAINTING NO. 70 (TRIPTYCH) or the body-actions of the writer-artist Diamela Eltit, whose words might sum up their attitude: TillE: VHISlORY OF THE HUMAN FACE (THE LONDON CAMINO) "That is why 1 want to remain in a precarious and isolated SIZE OF WORK: 420 X200 CM integrity and leave open the gap with the multitudes." 1 do not mean by this to redu.ce art to socio-political YEAR OF PRODUmON: 1989 discourse, but to give a conte.xt to something very noticeable and persistent in Dittborn's work: the sensation of frailty, of TECHNlaUE: PAINTlNG AND PHOlOSILKSCREEN "the body's perpetual helplessness", to use his own words. It ON THREE FRAGMENTS OF NON-WOVEN FABRIC. is the frailty of every type of conveyance - from ship to envelope - and of every utterance. The other side of this AIR MAIL PAINTlNG NO. 72 (DIPTYCH) frailty, though, is survival, which is also possible in inummerable modes. Take the painting aptly called Nine TIllE: THE CHINESE WORKER'S RIGHT ARM (WALTER BENJAMIN) Survivors. We know the title refers to people, but they are present here in several mediated forms: as old photos found SIZE OF WORK: 280 X210 CM in books, police records, anonymous graffiti, and in one YEAR OF PRODUmON: 1988-1989 piece of tex!. This last is the statement of a woman, an earthquake survivor, in Cauquenes, a small town in the south TECHNIOUE: PAINTING, WOOL AND PHOlOSILKSCREEN of Chile (the periphery of the periphery), as reported in the newspaper El Mercurio: ON TWO FRAGMENTS OF NON-WOVEN FABRIC. "1 felt as if a gigantic serpent bored Ihe earlh up to the point of a non-returnable unhingeing. I fell, since th e merey AIR MAIL PAINTING NO. 73 (DIPTYCH) of th e moment prevenled me from seeing, that I was TillE: STILL LlFE (MALEVICH) compelled 10 rema in inside of a barbarous demo/ilion. I felt , as afler each earthquake in which I have been, the SIZE OF WORK: 280 X 203 CM instinctive need to gel hold of a living being, whieh is the other way to become aware of your absolute lone/iness. I YEAR OF PRODUmON: 1988-89 also felt a sort of emolional calatonic, the fierce sensation TECHNlaUE: FEATHERS,.PAINTING, WOOL AND PHOlOSILKSCREEN Ihat madness is right there, side by side with dealh , until a joke heard amidst lhe shadows reveals to yourself, by the ON TWO FRAGMENTS OF NON-WOVEN FABRIC. laugh, Ihat you are a/ive." 1 have plumbed again and again the mystery of this tex!. AIR MAIL PAINTING NO. 74 (DIPTYCH) There is not only the survival of the person but the survival of this extraordinary utterance through our bland, official, TillE: TRANSCONTINENTAL (BRINGING AND TAKING mendacious media. It is as if it was a statement from the THE SURFACE, THE VOLUME) centre of the world, and of living. Dittborn is clearly using it also in his AirMail Painting as a metaphor for society - for SIZE OF WORK: 280 X 210 CM the precariousness of life at the base of the Latin American pyramid, but also perhaps for the absurdity of all heirarchies YEAR OF PRODUmON: 1989 overlaid on the human, the rightness of all carnival reversals TECHNlaUE: PAINTING AND PHOlOSILKSCREEN and levellings, themselves little social ' earthquakes' where a necessary but cruel violence is turned into laughter. ON TWO FRAGMENTS OF NON-WOVEN FABRIC. "Transperiphery (1) - transparency". The two words seem to intermingle. The nature of the AirMail Painting is a unique AIR MAIL PAINTING NO. 75 (DIPTYCH) object, following a precise course in time and space, is coupled with its acceptance of the mass-production and TillE: IF LEFT lO ITS OWN DEVICES (JOSE GUADALUPE POSADA) reproduction of signs, which is as endless as the potential for SIZE OF WORK: 280 X207 CM leasing meanings which are hidden there. If this coupling between uniqueness and multiplicity is a contradiction YEAR OF PRODUmON: 1989 according to conventional artistic wisdom, it can al so be seen as a key to the dual challenge wliich Dittborn is making TECHNlaUE: PAINTlNG, EMBROIDERY, DARNING AND to the art institutions and to the social order. PHOlOSILKSCREEN ON TWO FRAGMENTS OF NON-WOVEN FABRIC. ..._ .... ; ..

'HIS IS THE FACE OF AN ABORIGINE FROM TIERRA DEL FUEGO, TAKEN TO

LONDON IN 1829 FROM THE SOUTHERN MOST REGION OF SOUTH AMERICA,

ON BOARD THE "BEAGLE" BY ITS CAPTAIN ROBERT FITZ·ROY, WHO

' 0 ' . 0 , ' ,

, :( '!: : ~ : ~. oo • •

BOUGHT HIM FOR A FEW BUTTONS AND NAMED HIM JEMMY BUTTON. :. .-:... . ,. ' ; ~'. ..:: : . :- . ~. ."

';-.' ':-" ,

.' . ". ' ...... FITZ·ROY BROUGHT BUTTON BACK HIMSELF IN 1833, ONCE AGAIN

.:-. ~ ' . " . N ON BOARD THE "BEAGLE". DURING THAT TRIP, FITZ·ROY MADE " ... " .,

THE PORTRAIT OF JEMMY BUTTON. THIS PORTRAIT WAS FOUND BY ,"'. ' ..

EUGENIO DITTBORN IN A BOOK ABOUT THE TRAVELS OF CHARLES . '. ,.-. , ......

::. '. ','

DARWIN, WHO WAS ALSO ON BOARD THE "BEAGLE" IN 1833. .:-, ' .. \ .. .: :... . ',,} . ~ ...... '.

...... '. ,'.. '. ··· ·.. ·N:'· · ·:·A l " ~l!

Esperanzo and Eugenio Dinborn open Ihe envelope conlaining Airmail Painling No 49 ("Jemmy Hunon") proceeding lo unwrap and unfold il

before the Natural History Museum in Santiago 2, Chile, on Augusl15, 1989 , = :z: = =:z:

Judilh Goddord ond Guy Brell open Ihe en velo pe conloining Airmoil Poinling No. 49 ("Jemmy Bullon") proceeding lo unwrop ond unfold il in Bonner Rood, London, Englond, on July 12, 1989. INOK FILM SHOOTING STAGE, FRIDAY AUGUST 18, 9189, FROM 8P. M. UNTIL 11 P.M .: EXHI81T10N ANO SENO·OFF OF

EUGENIO OIITBORN'S REMITIANCE TO THE EXHI81TOIN OF 18 CHILEAN VISUAL ARTISTS IN THE STAATlI

IN WEST 8ERlIN (SEPTEM8ER 13 TO OCT08ER 18 OF 1989) i = Z = = Z

ludilh Goddard and Guy Brell open Ihe envelope conlaining Airmail Painling No. 49 ("lemmy Bullon") proceeding lo unwrap and unfold il in Bonner Road, london, England, on luly 12, 1989. RANTMAYER STUDIO, MONDAY, AUGUST 21, 1989,

AT 1P.M ., WORKS BY EUGENIO DITTBORN TO BE SENT TO THE

KUNSTHALLE IN WEST BERlIN .. AIRMAIL PAINTINGS IN ENVELOPES,

THREE HOURS BEFORE MAILING TO BERlIN THROUGH THE NO . 20

POST OFFICE IN SANTIAGO DE CHILE.

Tille 01 Work : V Hislory 01 Ihe Human Fa(e (Bla(k and Red Camino) Te(hnique: Pholosilksueen on len Iragmenls 01 non woven labric (140 X207 (m ea(h) Size 01 Unlolded Work: 1.400 x 207cm Size 01 Work, Folded and in len envelopes: 42.5 x 56.5 x 17.5(m Weighl 01 work, lolded and in len envelopes: 4.9990 grams Mailing: Augusl 21 , 1989 al 3.30pm Deslinalion: Slaalliche Kunslhalle, Wesl Berlin, Wesl Germany. Year 01 Produdion: 1989

INOK FILM SHOOTlNG STAGE, FRIDAY AUGHST 18, 9189, FROM 8P. M. UNTILll P.M .: EXHIBITION ANO SENO-OFF OF

EUGENIO DITIBORN'S REMITIANCE TO THE EXHIBITOIN OF 18 CHILEAN VISUAL ARTlSTS IN THE STAATUCHE KUNSTHALLE

IN WEST BERlIN (SEPTEMBER 13 TO OaOBER 18 OF 1989) BIOGRAPHY

EUGENIO D1TTBORN WAS BORN IN 1943 IN SANTIAGO. C HILE, WHERE HE UVES ANO WORKS.

SELECTED GROUP EXHIBITIONS SELECTED INDIVIDUAL EXHIBITIONS 1968 : Pa intings, G aleri e Des Beaux Arts, Paris, France 1974: 22 Eve nt s fo r Goya. Pa inte r. Drawin gs. Nati o nal 1975: Pa intings, Malta Gallery, Santiago de Chile, C hile Museum of Fine Arts. S anti ago de C hi le. C hile 1979: Engravings, San Francisco Cloisler Santiago de Chile , 1976 : On Chilean Painting, Hi story. Drawin gs, Epoca C hil e Gall e ry, Santiago de C hil e . C hile 198 1, 82, 83, 84: Videos in lhe Bi-Natio nal Video 1977: End of the Runway, Paintings and C hart s , Epoca Encounters in the Frenc h-Chilean C ultural Institute. G a ll ery, Santi ago de C hile , C hile 1982: X II Pa ri s Biennia l, Pa ri s, France 1978: On Paintings C hilean, Hi sto ry a nd End of the 1983: Artist Books, Franklin Furnace Center, New York, Runway, C o ntempo rary Art Cente r, Pere ira, Colom bia U. S.A. 198 1: Oi l, a Spill age of 350 Litres of Burnt Lubricant over 1984: The Histo ry of Physics, Video, Te levi sio n Channe l 5, the S urface o f the Tarapaca Desert. Tarapaca, C hile Va lpara iso, C hil e and Video Ri o 2, Ri o de Jane iro, Brasil 198 1: HA Caba ll o Regalado", a written saying o n a horse. 1984: The Hi story of Physics, Video, New Narrati ve, Recenl Santi ago de C hile, C hil e Acquisitio ns, M .O.M .A., New York and Natio nal Video Festi val, Los A ngeles, Califo rnia, U. S .A. 1981-82-83-84: MAIL ART 1984: Sydney Biennia l, Sydney A ustrali a 1984 : Airma il Paintings, Ca li Museum of Mode rn A rt. Cali , 1985: Airma il Paintings, CA YC, Bue nos Aires, Argentina Colomiba 1987: A Marg in al Body, Austra li an Centre for Photography, 1984: From A nother Periphery. Airm a il Paintings, A rt space. Sydney, Austra li a Sydney and George Paton G all ery, Me lbourne. A ustrali a 1988: Airmail Pai ntings, New Yo rk Latin Ameri can 1985 : Airma il Paintings, Bucci Gall ery. and S ur Gall ery. Triennial, N .Y. U.S .A. C hile 1988: A Marginal Body, To ur, Australia and New Zealand 1986: Airma il Pa intings, Ade la ide Festi val, Adela ide. 1989: Airmail Triptych, Third Havana Biennia l, Havana, Austra li a C uba 1986: One Who le Day in My Life, Remittance to th e 1989: Airmail Poliplych, Slaatli che Kunstha ll e, West Berlin . Sydney Bienniale German Federal Re public 1987 : Airma il Paintings. Coll egc Gall ery. South A ustrali an AWARDED: 1985: So lomo n Guggenhe im Prize, School of Art, Ade laide and In stitute of Modern A rt. Granted by the Guggenhe im Foundati o n, N.Y. Brisbane, Australi a 1988: Airma il Paintings, Cultural Center of the Munic ipality SELECTED BIBLlOGRAPHY o f Mira fl o res, Lima, Peru 1976: On Chilean Painting, Review, Ne ll y Ri chard , Vi sua l Editio ns and Ga le ri a Epoca 1980: About This space Over Here, Ro na ld Kay, Associate Editors 1988: T he Ghost o f Drought , Justo Me ll ado, Franc isco AII material is © The Australian Centre for Zegers, Edito r Photography Ltd and the authors. Na part of this publication is to be reproduced without permission RECENT PUBLlCATIONS from the publishers. 1979: Strategies and Proj ections o f lhe Natio na l Artisti c The Australian Centre for Photography gratefully aeknow­ Acti vit y o n lhe Eighties, Grupo Camara C hile Editio ns, ledges the support of Ihe Visual ArtsjCrafts Board of the C hile Australia Counei!, the Federal Arl's Funding and Advisory Board, Ihe Ministry for Ihe Arts, New Soulh Wales, and Ihe 11 977-81: End of lhe Runway, Galeri a E poca Editio ns, C hile Sir William Dabell Foundation. 198 1-82: Photo Finish, Se lf Editio n, C hile Gallery haurs: Wed-Sat 11 -5, Sun 1-5 1984: " La Fe liz De l Eden" Se lf Editio n, C hile ISBN NO: 0-909-339-08-2

VIDEOGRAPHY: Australian Centre for Photography, 257 198 1: What We Saw o n the Summil o f the Co rona , 20 Oxford Street, Paddington. 2021 N.S.W. Ph: m inutes, colo r 331 6253 1982: The H isto ry of Physics, 18 minutes, color Fax: 331 6887 1986: Five Preliminary Sketches fo r lhe Hi sto ry of Mus ic, 33 minutes, color Acknowledgements 1985: Pi eta, 8 minutes, color Photography by Jorge 8rantmayer 1989: The Hi story of Physics, 4 minutes, color Cockatoo Island

Spectacle Island