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0,void 0,(function*(){this.state=e,e.init(this.context),yield this.track()}))}transitionToDisabled(e,t){return __awaiter(this,void 0,void 0,(function*(){this.state=e,Render.message(e.message),Render.injectJS(t.javascript),"adblocker"===e.reason&&t.bannerAdblockerOnly&&Render.revealSalesBanner(),Render.revealPage(),yield this.track()}))}track(){var e;return __awaiter(this,void 0,void 0,(function*(){if(!this.state.track)return Promise.resolve();try{const t=this.state.trackingType;return null===(e=this.pixels)||void 0===e||e.dispatchEvent({type:t}),trackVisit({context:this.context,callbacks:this.google.callbacks},t)}catch(e){return}}))}get eligibleForZeroClick(){const{cannotPark:e,canZeroClick:t,zeroClick:n}=this.findDomainResponse,{cannotLoadAds:i,wantsToServeAds:s}=this.google;return this.adblock.state!==Blocking.BLOCKED&&(!!t&&(!!e||(!(!i||s)||!!(null==n?void 0:n.reason))))}get context(){var e,t,n,i;const s=this.findDomainResponse,a=this.parkResponse,o=null===(e=this.state)||void 0===e?void 0:e.toContext(),r=null===(t=this.adblock)||void 0===t?void 0:t.toContext(),d=null===(n=this.google)||void 0===n?void 0:n.toContext(),c=browserState(),l=Object.assign(Object.assign({},null===(i=this.findDomainResponse)||void 0===i?void 0:i.zeroClick),this.zeroClickResponse);return Object.assign(Object.assign(Object.assign(Object.assign(Object.assign(Object.assign(Object.assign({app_version:APP_VERSION},s),a),r),d),o),c),{zeroClick:l})}init(){return __awaiter(this,void 0,void 0,(function*(){try{window.__parkour=this,yield this.main()}catch(e){console.error("app",e);const t=Failed.fromError(e);this.state=t,Render.message(t.message),Render.revealPage()}}))}}(new App).init(),exports.App=App}));

[ENTREVISTA] La arqueología ficticia de Elia Gasparolo y Santiago Rey que da vida a "El futuro es prehistoria"

Mayo 27, 2021

Un recorrido de más de mil kilómetros por el desierto de Atacama. Varios kilos de material como equipaje. Horas de búsqueda para encontrar los escenarios perfectos en donde levantar las escenas tan cotidianas como míticas que forman parte de El futuro es prehistoria, obra de los artistas argentinos Elia Gasparolo y Santiago Rey que será parte del circuito museo sin museo de la Bienal SACO1.0.

La primera etapa de esta intervención se realizó en diciembre de 2020. Se trató de la instalación en lugares recónditos aledaños a Mejillones, Río Salado, el Valle de los Meteoritos y ruinas de oficinas salitreras, entre otros, de una serie de composiciones de pequeñas esculturas que muestran momentos de la historia de un grupo humano indefinido a pequeña escala.

Estas escenas están siendo develadas periódicamente en la página web del proyecto, así como su geolocalización para quienes deseen visitar los microespacios que pretenden llevar la atención hacia la relación que los seres humanos tienen con el territorio, con el pasado, con la idea del futuro y del lugar que la humanidad ocupa en la historia.

La segunda etapa de El futuro es prehistoria se desarrollará durante 2021 en el marco de la Bienal 1.0, la que culminará con una exposición en la Sala 13 del Museo Regional de Antofagasta.

Sobre cómo se originó este proyecto, los paralelos casuales con el actual contexto pandémico, las dificultades que enfrentaron en su viaje a Chile y qué esperan encontrar un año después de la primera parte del proceso, conversamos con ambos artistas.

Elia Gasparolo. Traductora de Inglés y Artista Visual. Asistió a los talleres de pintura de Graciela Islas y Cecilia Ibarguren e inicia sus estudios en la Universidad de las Artes. Trabaja como asistente en la gestión y producción de obra de Joaquín Fargas en proyectos como Glaciators, El Libro Absoluto, Destellos de la Naturaleza, Rabdomante y Robotika. En 2019 expone sus dibujos y pinturas en Spectrum Miami durante Miami Art Week. En la actualidad es colaboradora y directora de producción en Gaspar Libedinsky Studio, asiste a diversos talleres de electrónica, mosaiquismo, fotografía y carpintería, y dicta talleres sobre biomateriales.

Santiago Rey. Se forma como artista plástico en la Escuela Nacional de Bellas Artes Rogelio Yrurtia, cursa la especialización en pintura en la Escuela Superior de Bellas Artes Ernesto de la Cárcova y la tecnicatura en museología en la Escuela Nacional de Museología. Ya durante su formación comienza a trabajar en fundición artística, restaurador de arte y montajista. También trabajó como maestro de arte, pintor, escenógrafo, constructor y realizador. Desde el año 2004 trabaja en su propio taller realizando utilería y decorados. En 2011, como resultado de su colaboración con la directora de arte chilena Carmela Silva, publica el libro Maquetas para cine, viejos recursos para nuevos lenguajes. Desde 2002 trabaja además como responsable del taller de maquetas y prototipos de la Facultad de Arquitectura de la Universidad Torcuato Di Tella. Actualmente trabaja en proyectos propios en artes contemporáneo, en movimientos locales para la difusión del arte y acompaña a diferentes artistas en la conceptualización y realización de sus obras.