XEPA in VIDEOFEST (Chateau Carreras Contemporary Art Center, Córdoba, Argentina): 2008 November 28-30

VideoFest is a meeting to audiovisual experiences. It is born in Cordoba (Argentina) as a possibility to share points of view, production ways, knowledge and aesthetics, in an exchange between artists and public.
Xepa is present, participating of the video programming with Importancia de las Cosas (Importance of Things), a 10’ video-essay accomplished in Unquillo (Cordoba, Argentina) in 2008 August.

More information about the Festival:



Deformes in Valdivia: November 22, Saturday, Museum of Contemporary Art

Performance by Coletivo Leibniz (Isabella Di Colla, Helen Spackman, Ernst Fischer), England/Italy (photos V.G. - Xepa):

Performance by Alvaro Pereda - Alperoa, Chile (photo V.G. - Xepa):

XEPA in II Performance International Biennial - DEFORMES 2008: Valdivia > collective action (series Excessos)

November 22
XEPA's collective action - Los Molinos Beach (Valdivia).
Artists that participated: David Khang (Korea/Canada), Dorothea Rust (Switzerland), Efi Ben David (Israel), Francisca Tironi (Chile), Monika Klingler (Switzerland) [foto2], Morgan O'Hara (USA/Italy) [foto 1], Perpetua Rodriguez (Chile), Vasan Sitthiket (Thailand), Viviane Gandra (Brazil/Argentina)[foto 2].
[Photos: Perpetua Rodriguez]


Deformes in Valdivia: November 21, Friday, Museum of Contemporary Art

Performance by Morgan O'Hara, USA/Italy (photos V.G. - Xepa):

Performance by Monika Klingler, Switzerland (photo Francisca Tironi):
Performance by David Khang, Korea/Canada (photo Francisca Tironi):
Performance by Livia Caputo, Italy (photo Francisca Tironi):

XEPA in II Performance International Biennial DEFORMES 2008 in Valdivia: meeting with students

We (XEPA) were - between 11 and 14 o’clock - at Philosophy and Humanities School / Chile Southern University in a meeting with students and professionals from that school and from the Visual Arts School of the same University.

The content presented as dialogue starting point was a summarized panorama of Coletivo Xepa's path and our strategies of work and/or of circulation of images and actions. For that, besides photographic collection, two videos were exhibited: Permeable 4 (video-essay, 2007) and El los Precio Ladrillos no se Pelea (short documentation version of homonymous action accomplished in 2007 in Paseo del Buen Pastor - Córdoba, Argentina - as part of Parabrisas Project's programming, inside of Mercosur's Teather Festival).


XEPA in II Performance International Biennial DEFORMES 2008 in Valdivia: video exhibition

Importancia de las Cosas (Importance of Things) was presented at 21:30h o'clock in the external patio of Visual Arts School / Chile Southern University, after two films directed by Fabrizio Di Carlo (Collective Leibniz, Italy), as part of programming of II Performance International Biennial DEFORMES 2008 in Valdivia.
[Image: video still, Xepa]

Deformes in Valdivia: November 20, Thursday, Museum of Contemporary Art

Performance (end) by Johannes Zits, Canada (photo V.G. - Xepa):
Performance by Monika Günther e Ruedi Schill, Switzerland (photo Francisca Tironi):
Performance by Irene Loughlin, Canada (photos V.G. - Xepa):

Performance by Cheto Castellano, Chile/USA (photo Francisca Tironi):
Performance by Francisca Tironi, Chile (photo from artist's collection):


Deformes in Valdivia: November 19, Wednesday, Museum of Contemporary Art

Performance by Dorothea Rust, Switzerland (photo V.G. - Xepa):
Performance by Efi Ben David, Israel (photo V.G. - Xepa):
Performance by Vasan Sitthiket and Perpetua Rodriguez, Thailand (photo V.G. - Xepa):

(IV) Trip Notes DEFORMES 2008: Valdivia> visit to La Niebla's fort

Valdivia’s system of forts is in the bay of Corral, close to the city of Valdivia, in the south coast of Chile.
Known as "Key of the SouthSea", it is one of the largest systems of Spanish America’s colonial fortifications. Its function was to defend the marine access to the city of Valdivia against foreign colonial potencies, pirates and corsairs, and also to serve as base for the Spanish embarkations that made Cabo Horn route.
(Source: Wikipédia)


Deformes in Valdivia: November 18, Tuesday, Museum of Contemporary Art

Performance by Vida Simón, Canada (photo Francisca Tironi):
Performance by Rachel Echenberg, Canada (photo Francisca Tironi):
Performance by Beni Kori, Israel (photo V.G., Xepa):

Deformes 2008

(III) Trip Notes DEFORMES 2008: Valdivia> on the city and its almost-disappearance in 1960

[Photos: bridge and remains of constructions - Calle-Calle River]

Valdivia is a city and commune in Chile, capital of the province with same name, located in Los Ríos' (The Rivers’) Area. It has a population of 140.559 inhabitants and a surface of 1.016 km². The city is located between the rivers Calle-Calle, Valdivia and Cau-Cau.

Valdivia was one of the most affected cities by the Great Earthquake of Chile (1960 May 22), registering 9.5 points in Richter scale, what made it the stronger earthquake in the history of humanity. People consider that the city has sunk about two meters after the phenomenon.

(Source: Wikipédia)


(I) trip Notes DEFORMES 2008: Valdívia> transit Brazil-Argentina-Chile

[Photo: from Córdoba, almost arriving to Mendoza]
"Without Marcelino, without Marco Paulo, I left the bus station of Córdoba (Argentina) at 10:30 PM yesterday, Sunday. I’m going to the city of Valdívia, south of Chile, where the second module of the Biennial began already (it was in Santiago from 4 to 15 and in Valdívia from 15 to 22). I will arrive in the bus station in that city full of floods/disappearance and reappearance/ruins histories at 6 PM in the Tuesday morning, 18.

As Marcelino said, all our process of administration exercises to go to Chile constitutes, in a quite dense way, a DISPLACEMENT - one of the focuses of the Biennial coordinated by Gonzalo Rabanal, Chilean artist and art manager.

With Marco Paulo Rolla and Marcelino Peixoto and later with Marcelino (always with Marcelo Márquez, our great collaborator), we lived every kind of situations - some bureaucratic ones, other practices, other extremely affective - and humors, we suffered together each change and/or adaptation in the plans until, for good sense exercise and perception of 'finishing', to verify that we would not be in Chile now. Therefore the potency exercise came later, something about ‘to do what you can with what you have’ (Xepa’s key spirit), and then, after adding each portion of resources that each one of the two had (and what we didn't have), I follow by bus to Valdívia, lonely and well accompanied, with a lot of presence disposition and almost any patience.

We left (I use the plural because it’s Xepa who is travelling) with the commitment of to exhibit in Valdívia some of the video works and to accomplish a speech with local students and artists about Xepa’s workpieces and strategies of action. The project of the action/intervention proposed and approved before - construction of ruins through the action from the series Construction and Fall of Bodies - won't be accomplished, at least not now, for lack of infrastructure (actually the Biennial is happening through the sum of resources and supports gotten by each artist invited, through own administration in her/his respective original country).

Xepa in transit.

V.G ".