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The bombing of the Palace of the Moneda Santiago de Chile during the military coup of 1973 not only ended the political project of Salvador Allende, but also an artistic initiative aimed at create a museum "for the city" with works donated by artists from around the world. "
Allende started this business in 1971 with a totally innovative approach, since she was seeking to create a space of broad expression with a strong look " Ethical and Aesthetic ]" through the compilation of works by hundreds of writers who sympathized with the "Chilean way of socialism".
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However, many of these works, especially those that were donated between 1972 and 1973, did not never reached their final destination and were deposited clandestinely in the warehouses of National Museum of Fine Arts until 2017, according to EFE. .
Now, 47 years later, the Museum of Solidarity Salvador Allende (MSSA) shows in the exhibition "debut", 43 of these donations from Switzerland, the United States, France and Japan, composed graphic and pictorial works and sculptures.
In this are framed creations like the Expressionist Expressionist by Robert Motherwell, the screenprints of Tetsuya Noda or the background "Armando Zegrí", belonging to the Chilean writer of the same name who installed in 1953 one of the first Latin American art galleries in New York.
A few pieces that will join the most remarkable of the museum's collection, among which stand out Joan Miró, Eduardo Chillida and Noemí Gerstein, which have been exhibited in one of the three exhibitions that the museum has managed to achieve until the end. its fall in 1973.
The director of the MSSA, Claudia Zaldívar, explained to Efe that the objective of the institution is to "combine art and politics" ["Toservethepioneeringprojectof Salvador Allende who, with the entry of the military regime of Augusto Pinochet (1973-1990), had to live in exile until the early 1990s.
"The The initial idea of the Solidarity Museum was to create an international network of left-wing artists and intellectuals who continued to live with other causes such as the Palestinians, Nicaragua and Nicaragua. or the fight against apartheid. ", said Zaldívar.
Thanks to the work of the embbadies, the works of art were able to travel the world without falling into the hands of the censors and the museum eventually became traveling institution in constant In this way, the Don Allende (1970-1973) wanted to make the Chilean people ended up being converted into a collectivist ideal that sought, through art, to denounce situations of social injustice through the planet. 1965 9002] An approach that, continues Zaldívar, understands that art is not "a beautiful object to place in the living room", but as an exercise of badysis that serves to "put on the table of problems such as the scarcity of water ". Immigration or the lack of utopias in modern society, "in short," contemporary conflicts ".
Therefore, the building that houses the museum and served as a center of torture during the dark period military is home to a triple exhibition that includes the three stages that the project has undergone: its creation, its diaspora forced by the fear of repression, and his subsequent return to Chile.
In addition, there is also a more intimate space for the promotion of contemporary works under contingent themes which is nowadays occupied by the project "Ciudad Negra" by the Chilean artist Víctor Hugo Bravo.
In this, Bravo explores the idiosyncrasies of modern cities, which considers "dominated by the abuse of power and premeditated violence," a concept that is reflected through violent objects and wars built with all the types of industrial waste.
In short, the initiative promoted by the museum reproduces what Chilean Painter and Poet Roberto Matta drew with words under one of his paintings: "Let us make the internal guerrillas to give birth to a new man. "
A piece of his censored work, as well as the desire for freedom and political expression that the army silenced on a gunshot, a curfew and marches in uniform, but which has come back to the present day thanks to the collaborative effort of a network of artists and researchers who refuse to forget the past
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