Portfolio Maria/Rosario Montero 2009-2014

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 zealousness, the owners of the spaces showed in relation to the photographs 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 it, by photographing each of these different spaces, the owner of the space is revealed in his or her absence.

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

2014 Puro Chile, Paisaje y Territorio CCM, Santiago, Chile. Fotograma 11. Montevideo, Uruguay. 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 identify the city, beyond the images built as a the independent curator Mane Adaro for the souvenir for travellers. Thus, the series attempt first Valparaiso International Photography to collect those day-to-day elements whose Festival (www.fifv.cl). commonplace condition makes them disappear The images strive to find something that would 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- PhD Cultural Studies, Goldsmiths, London UK. 2012-2013 MSc. Digital Anthropology. UCL. London, UK. 2004-2005 MFA Visual Arts. Universidad de Chile. 1997-2000 BFA Visual Arts. Pontificia Universidad Católica de Chile. 2003 Diploma Digital Photography. Universidad Católica de Chile. GRANTS/AWARDS 2013 Conycit. Chilean Government Scholarship. PhD in Cultural Studies. Goldsmiths. 2012 Conycit Chilean Government Scholarship. MSc. Digital Anthropology. UCL 2012 Artist en Residence. Triangle art. New York. USA 2011 Default Artist en Residence. Radom Association. Puglia,Italy. 2010 FONDART, Chilean Government arts grant. Consejo Nacional de la Cultura y Las Artes, Gobierno de Chile. EXHIBITIONS 2014 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. 2013 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 2012 En la otra Cuadra. Conversación de Campo collective. Chile. 2011 Xile:Fotografía y Convivencia Barcelona, España. Fotograma 11. Montevideo, Uruguay. Desviaciones Photographic Intervention of Public Spaces. Santiago, Chile.

Antología Visual. Invited Artist. Museum of Contemporary Art. (MAC) Santiago. 2010 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. 2009 Cohortes MAC. Parque Forestal.Santiago, Chile. 2006 Retratos: norte, centro, sur.mhm. Santiago, Chile 2005 Ninguno MHM. Santiago, Chile 2004 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. 2003 Young Artist. Universidad de Valparaíso. Valparaíso PUBLICATIONS 2014 Puro Chile Catalogue Exhibition. CCPM. Santiago, Chile. Ambit Magazine number 217 Section Summer Salon 2013 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. 2012 C Photo, Ivory Press. Emerging Latino-American Photography (Curate by M. Parr) 2011 10X15 Edition. I love Cachai. Chilean Photography. Barcelona, Spain. 2010 CNCA. Santiago, Chile. Contemporary Chilean Photography 02/CNCA. 2006 Parallel View Photography book of the Identity in Chile. Santiago, Chile 2005 Artes Visuales CCE 2004. (Visual Art CCE 2004) Centro Cultural de España. 2005 Suple. Editorial Silla Blanca. Santiago, Chile.