Mapeo de Bordes Porosos is a project that confronts ethical dilemmas around what is essential in a time of crisis such as the COVID 19 pandemic or the social uprising in Chile. This project, which sits between performance and visual art, has been active since 2017. In 2020 we have developed a series of relational art works that move through the post, measuring the suspended, fragmented, disrupted time of COVID 19 and attempting to share touch and contact between artists and nations. Our project also includes regular conversations between two artists who are not fluent in each other’s languages, resulting in the development of an archive of mistranslations and imperfect communications; a series of letters discussing everyday life in quarantine in Santiago and Auckland, and archives of performance writings and videos from the Mapping Porous Borders project 2017 – 2020.
In its reliance on the postal service, this work triggers questions around whether an art project can be an essential service, what the role of artists is in times of world crisis and the importance of touch and co-creation across national borders. Through the simple object of the envelope, we touch geopolitical borders, the inevitable travel of bacteria, and issues of artistic freedom while attempting to ignite international collaboration across artists and countries.
Co-presented with Jeffrey Holdaway
Mapeo de Bordes Porosos, Old Folks Association, Auckland, NZ, 2018
Macarena Campbell Parra, Alys Longley, with Trompos by Máximo Corvalán-Pincheira and
Photograph: Gabby O’Connor