[{"data":1,"prerenderedAt":191},["ShallowReactive",2],{"article:political-prison-art-and-memory-in-conversation-with-hector-maturana-banados":3,"page:48":118,"page:321":154},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":22,"pdfUrl":31,"vimeo":31,"contributorBios":32,"seo":37},602,"political-prison-art-and-memory-in-conversation-with-hector-maturana-banados","Political Prison, Art, and Memory: in conversation with Hector Maturana Bañados","\u003Cp>Soledad Muñoz interviews cultural worker and arpillerista Hector Maturana Bañados. \u003Cem>Translated from the original Spanish text included after the English version.\u003C\u002Fem>\u003C\u002Fp>\n","2021-02-01T11:55:08",2021,"Feb 2021",[12],5,[14],"Interview",4297,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-70.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-70-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-70-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-70.jpg 1920w",1920,1080,"","data:image\u002Fwebp;base64,UklGRmYAAABXRUJQVlA4IFoAAADwAwCdASogABIAPu1ysFMppqQiqAgBMB2JZ2QQWx4JynQ4Ew1NNb4AAP7tpvezzJX8JX9Xdqnbn1vBgNz5pnTWI7ZxWv30w5OiOxHuU0iCfOXFbV9Y66D7IAA=",[25],{"id":26,"name":27,"slug":28},586,"Soledad Muñoz","soledad-munoz","\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRr4AAABXRUJQVlA4ILIAAABwBQCdASogABIAPu1sq1EppiOiqAqpMB2JQBjfAQJ47R2yHsZM7ZyTaY29ShSKOZaPo6nAAP7zgszTviW8vyktiBx5mv2RVqYDtZhDXJehOFKecdWEXvny7AnmuFCNtzxX6dEZhRSiqQeSq5meS1OuwLabd1jGqhnfi9Irtwp2fMSIGlyeEbiiuuVLkijvlbNmh9i0rSsx5cR91KhTKNkW8SpomPsj\u002FDUAn3QS8xdBhcAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-100.jpg\" alt=\"Hector Feature Image\" class=\"lqip wp-image-604\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-100.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-100-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-100-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-feature-100-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Hector Maturana holding one of his arpilleras. Soledad Muñoz, \u003Cem>La Parte de Atrás de la Arpillera\u003C\u002Fem> (2020), DCP.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In my twelve years in Canada, one of my ongoing critiques on the role of the artist in colonial North America is the separation made by cultural workers between the art object and its socio-political gesture. The art market alienates the artist from their labor, perpetuating the systems of oppression linked to capitalism, and therefore Eurocentric hegemonies. Thus, practices such as Hector’s are of great necessity for people who seek to create a more equitable society, not only in Chile but also in the colonial countries where the oppression of impoverished Chileans originates.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Hector Maturana Bañados is a cultural worker and\u003Cem> arpillerista\u003C\u002Fem> (arpillera maker) who was a political prisoner in the city of Antofagasta during the Augusto Pinochet dictatorship (1973-1991). His work is an example of the culture of resistance developed in Chile after the US-backed military coup, which sought to cement neoliberalism throughout the country. Maturana works with Agrupación Providencia de Antofagasta,\u003Cspan id='easy-footnote-1-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-602' content=' \u003Cem>La Agrupacion Providencia de Antofagasta\u003C\u002Fem> (The Providencia Group of Antofagasta) is an organization invested in the protection of the Providencia building in the second region of Chile. This building was used by Pinochet’s agents as a detention center and although the site has been recognized by Council of National Monuments, it continues to be occupied by the police force of the city.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> advocating for the memorialization of the Providencia building, which was used as a site of detention and torture by Pinochet’s agents. The group is currently fighting to release prisoners from the 2019 revolt — condemning the police brutality and excessive use of force exercised by \u003Cem>carabineros\u003C\u002Fem> (Chilean police). Today in Chile, more than 2000 people are in prison for protesting against Sebastian Piñera’s government, and the constitution drafted by Pinochet in 1980. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Through his life and practice, Maturana actively forges a living archive of teachings for generations to come. I met Hector during the making of my audiovisual piece, \u003Ca href=\"https:\u002F\u002Flapartedeatras.com\u002F\">\u003Cem> La Parte de Atrás de la Arpillera\u003C\u002Fem>\u003C\u002Fa>, in which I collaborated with artists Amaranta Espinoza and Lula Almeyda. We made this work for the \u003Cem>2020 Hidden Stories\u002FHuman Lives \u003C\u002Fem>Textile Society of America’s Symposium\u003Cem> \u003C\u002Fem>because we wanted to contextualize the history of resistance of the \u003Cem>arpillera\u003C\u002Fem> makers, and end their anonymity perpetuated by western art collectors. Maturana founded \u003Cem>The Arpilleras Workshop for Political Prisoners\u003C\u002Fem> at the Antofagasta Public Prison in 1980 and continues to make \u003Cem>arpilleras \u003C\u002Fem>today, understanding the importance of this artwork as containers of the people’s collective memory in resistance to the ‘official’ history. We decided to publish this interview because we believe documents like it are crucial in raising international awareness that the dictatorship was not a\u003Cem> historical parenthesi\u003C\u002Fem>s\u003Cspan id='easy-footnote-2-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-602' content='\u003Cem>Un Fantasma Recorre Chile: Prisión Politica de la Dictadura Civico-Militar en el Escenario de una Democracia que Criminaliza la Protesta Social. La Dictadura No es un Parentesis\u003C\u002Fem>. Agrupacion por la Memoria Histórica Providencia Antofagasta' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> and that there are still political prisoners today in Chile. This interview combines conversations Hector and I had before the production, interview material for the piece conducted by Diego Lazo, and documents shared by the interviewee.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> How did you get involved in resistance movements?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> In 1973, I was just finishing high school, and I remember that on September 11th, many students gathered to reflect on our current moment. We laid the groundwork to see how we could resist, what we imagined could happen after the coup, and continued organizing without measuring consequences because we were very young. We began to develop an early movement of solidarity aid. We went to the church to look for ways to collaborate. There were about 2000 people detained within the city (Antofagasta), and that was without counting Chacabuco. By 1975, we had a well-organized group of people supporting and developing resistance in a city with firmly installed repressive apparatuses. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> Can you tell me a little about the context of Chacabuco?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM: \u003C\u002Fstrong>After the military coup of 1973 — where there was massive repression in Chile — a large portion of prisoners from Santiago and Valparaiso’s early dictatorships were transferred to the north, into the Chacabuco saltpeter offices (a nitrate town) that were set up as a concentration camp. The prisoners began to arrive by ship and plane; it is thought that there was more than a thousand people. The place is inhospitable and in the desert. Very hot during the day and cold at night. A lot of support was developed for the prisoners’ families. People came from other places in Chile to visit them, and all this generated a lot of solidarity around the moment these people were living in. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> Why did you choose the \u003Cem>arpilleras\u003C\u002Fem> as a tool for expression and resistance? Can you tell me a little more about the materiality of \u003Cem>arpillera\u003C\u002Fem> (burlap)?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> My motivation for making\u003Cem> arpilleras \u003C\u002Fem>began approximately in 1975, after finding a work created by a political prisoner in the Chacabuco concentration camp hung up in an office. The \u003Cem>arpilleras\u003C\u002Fem> already carried a significant political connotation in the 1960s, mainly through the artist Violeta Parra’s work, but this comes to me merely as a historical account. After seeing the work that prisoners in Chacabuco were doing on cardboard pieces — because they probably didn’t have access to other materials — I wanted to transfer it to burlap. As a material, burlap (or \u003Cem>arpillera\u003C\u002Fem>) has different uses; it’s the same material used to store potatoes. It’s a combat material. It’s very resistant and accessible to the most impoverished people — we’re talking about the ‘60s. That sensibility has been maintained over time.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRsYAAABXRUJQVlA4ILoAAACQBQCdASogABIAPu1iqE2ppaOiMAgBMB2JYwCxH1gX+AsubDWqYndGDVOKWOSw2w9p83yQAAD0S8kPwWgJk939sBylqACqdbSGMBq9wgvTY6GIX9ZWEFXOJuSYYubteEyks7h5\u002FfpsmZA31E5sJP60lknzJwYjY\u002FDpQvJt2wB4Thg\u002FjIUSlXdwmpN4TmqRrVC8WX8g4yPrXd5FxKDE7VNXBaTQ+OfUxDzYyb3xp6whHXXPnRItSyWQAAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-second-100.jpg\" alt=\"Hector arpillera Image\" class=\"lqip wp-image-606\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-second-100.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-second-100-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-second-100-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-second-100-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Hector and one of his arpilleras inspired by the work of Violeta Parra.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> Why were you arrested? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> Well, I was arrested in 1980 with my brother Freddy, my father, and others who were fighting against the dictatorship in Antofagasta. Our arrest happened nine days after the new Constitution was voted in. I was accused of violating the State’s internal security law and charged with inciting to overthrow the government; it was a very generalized accusation to be charged with in those years. I spent two years in jail serving this unjust sentence, but it was common for the government to arrest anyone who spoke out. They labeled us as extremists, terrorists, or subversives.\u003C\u002Fp>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">\u003Cem>“…the interesting thing about the \u003Cem>arpilleras\u003C\u002Fem> is that it places political prisoners in another context as artists doing cultural work.”\u003C\u002Fem> — HM\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM: \u003C\u002Fstrong>What was your process like in prison? Can you describe how it became a space for creation?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM: \u003C\u002Fstrong>When we were in prison we had a routine, which started in the morning with physical activities, then after lunch, we sat down to work. Not all the political prisoners worked making \u003Cem>arpilleras,\u003C\u002Fem> but those who did could exchange ideas and proposals. We would read a lot of poetry because much of what we did was linked to poetic texts from those years. We wanted to develop a theme that could have an impact on the community. While we were detained, our pieces were exhibited in the city of Antofagasta. Back then, it generated a simple and basic support network, but looking at it differently now, the work we were making were focal points of resistance.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM: \u003C\u002Fstrong>What is the relationship between the \u003Cem>arpilleras \u003C\u002Fem>and Providencia? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> The historical relationship between Providencia and the \u003Cem>arpilleras\u003C\u002Fem> has to do with the fact that we were detained in this building’s secret barracks when it was a clandestine prison in 1980. Over the years, due to public uproar, it was declared a historic monument, and today, the space is being disputed so that it can be transformed into a\u003Cem> site of memory.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM: \u003C\u002Fstrong>What is a \u003Cem>site of memory\u003C\u002Fem> for you?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> This \u003Cem>site of memor\u003C\u002Fem>y has to do with recreating the events of the past and documenting the facts regarding the period of the dictatorship. It is here where the \u003Cem>arpilleras\u003C\u002Fem> have a place again. In Antofagasta, 13 \u003Cem>arpilleras\u003C\u002Fem> are waiting for the right moment for us to install them inside the Providencia building. It is essential to show the interrelationship between these works as records of past events and our present-day struggle. It is not a question of dramatizing the situation or victimizing those incarcerated, but instead of opening up the possibility for conversations on the topic of ongoing human rights violations. A memorial site can only exist if it has elements such as the \u003Cem>arpilleras\u003C\u002Fem>, which recreate historical moments, and are an ally of the memory. So are documents, photographic records, and recordings, but the interesting thing about the \u003Cem>arpilleras\u003C\u002Fem> is that it places political prisoners in another context as artists doing cultural work. Prisoners were not previously thought of in this way. When we made \u003Cem>arpilleras\u003C\u002Fem> in the ‘80s, we did not know that they would finally end up in a \u003Cem>site of memory\u003C\u002Fem>; we did not have that perspective. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> How did you experience the revolt of 2019? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM: \u003C\u002Fstrong>I was arrested nine days after the establishment of the constitution that was being questioned by the people in the revolt — among other demands. This constitution has had a long permanence process, so there was a lot of internal dialogue in me during the \u003Cem>Estallido Social \u003C\u002Fem>(2019 revolt). It made a lot of sense to go back out into the streets to put this issue back on the agenda, and I wasn’t so alone anymore. This movement was a massive outcry from many people with the same perspective. \u003C\u002Fp>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">\u003Cem>“The people’s memory is always in dispute with history.”\u003C\u002Fem> — HM\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Up until the \u003Cem>estallido\u003C\u002Fem>, we were trying to build a country that could overcome historical trauma. This revolt puts the state back on an awful footing with its citizens; we see once again that the government is not an entity that functions according to the needs of its people. On the contrary, it operates for its economic interests to maintain a corporate state linked to the armed forces and public suppression. Once again, the state is making the same mistakes we have been denouncing for a long time. Our old wounds have not yet healed, and new ones are opening.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRugAAABXRUJQVlA4INwAAAAQBgCdASogABIAPu1gqE2ppaOiMAgBMB2JYwC\u002F8vA1QbWS1uWBVOSpLeTZjEKMKtbGUSueNOuDwAAA\u002Fnerp+b3YJaI0ZysZ9lk6TrTyac8s7lxbMwesF2XbV8qIUbfvJ2mj687SZVwbDn\u002FHH2nN+VC02CuYH6zxDbOtW3M6\u002FQh+999w8Z9jQDR7ZY5yErA05LLe84eEg1tO6N62+nC7bafHjbEyw6EUviU+iCe1Akit+0BBBK+sSqVD40WGSJKlPSM2fatAUyUeGcuw\u002FGrnLT\u002FhGMX9yGTtc+OlwAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-third-100.jpg\" alt=\"\" class=\"lqip wp-image-607\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-third-100.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-third-100-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-third-100-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fsoledad-third-100-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>\u003Cem>Neoliberalism Was Born and Will Die in Chile\u003C\u002Fem>, digital collage, 2020.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> For the protests, some signs said, “Neoliberalism was born and will die in Chile.” Do you think we can make this happen? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> I’d like to conclude with that phrase from my exhibition catalog in which we commemorated the 41 years of the \u003Cem>Death Caravan,\u003C\u002Fem>\u003Cspan id='easy-footnote-3-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-602' content='\u003Cem>The Death Caravan \u003C\u002Fem>(Caravana de la Muerte) was a Chilean Army death squad that ordered or personally executed at least 97 people during Pinochet’s dictatorship.' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan> which says: “The people who do not know their history do not understand their present and, therefore, do not dominate it, so others do it for them.” \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">This phrase somehow reflects what has been imposed on us by the state and bodies of repression. From the first day of the military coup, the government began to construct its own narrative and spread it throughout the country, censoring any opposition. People were left without a voice, without a way to express themselves, without the ability to tell their side. The people’s memory is always in dispute with history. This very work aims to show that narrative, to produce a different cultural understanding that can lead to change. If this knowledge gets to the US or Canada, to a classroom where a dialogue takes place, that’s phenomenal. Or what you (Soledad) did when you exhibited\u003Ca href=\"https:\u002F\u002Fsoledadmunoz.com\u002Fworks\u002Fdetenidos-desarecidos-1\">\u003Cem> the disappeared\u003C\u002Fem>\u003C\u002Fa> in Chicago, because you show the people’s history in the very nation that generated our country’s economic policies. You are able to go into these spaces with a different instrument, a confrontational tool that was impossible for us many years ago. Perhaps one day, we will reach the moment where we indeed end neoliberalism in Chile, thanks to all these actions, our \u003Cem>arpilleras,\u003C\u002Fem> and all of our efforts.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">*\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Prisión Política, Arte, y Memoria. \u003Cbr>En conversación con Hector Maturana \u003Cbr>por Soledad Muñoz\u003C\u002Fh3>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">En mis 12 años viviendo en Canadá, una de las críticas que he desarrollado en cuanto al rol del artista en Norteamérica colonial, es basada en la separación que se hace entre el objeto de arte y el gesto político o social de la pieza. Al concebir objetos de consumo alienados del mundo de quien los crea, este tipo de trabajo perpetúa los sistemas de opresión ligados al capital y  la hegemonía eurocéntrica. Es debido a esto, que prácticas como las de Hector resultan de gran necesidad para las personas que buscan crear una sociedad más equitativa, no solo en Chile, sino en los países coloniales desde donde nace nuestra opresión.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Hector Maturana Bañados es un trabajador cultural y arpillerista, quien fue prisionero político en la ciudad de Antofagasta durante la dictadura de Augusto Pinochet (1973-1991). Su labor es un ejemplo de la cultura de resistencia que nace en Chile a partir del golpe militar, el cual fue organizado y ejecutado por los EEUU, y buscaba cimentar la ideología neoliberal como una propuesta contraria al gobierno del presidente Salvador Allende. A través de su vida\u002Fpráctica, Maturana continúa activamente forjando un archivo vivo de enseñanzas para las nuevas generaciones. Ademas trabaja con La Agrupación Providencia de Antofagasta,\u003Cspan id='easy-footnote-4-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-602' content='\u003Cem>La Agrupación Providencia de Antofagasta\u003C\u002Fem>: organizacion que apela por la memoria historica del inmueble La Providencia, que fue usado en una primera etapa por agentes de la Dirección de Inteligencia Nacional(DINA), después por la Central Nacional de Informaciones (CNI) como un lugar de detención y tortura de opositores a la dictadura. En el año 2016 el recinto fue declarado Monumento Histórico.' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> una organización que apela por la memoria histórica del inmueble La Providencia, el cual fue utilizado por agentes de Pinochet como un lugar de detención y tortura. Actualmente, la agrupación está enfocada en velar por la libertad de lxs presxs de la revuelta del 2019; condenando la represión policial, el uso desmedido de la fuerza y las torturas ejercidas por carabineros hacia las personas movilizadas en contra del gobierno de Sebastián Piñera. Hoy en Chile hay alrededor de 2000 presxs politicxs, quienes fueron parte de un movimiento social masive el cual — entre otras cosas — logró forzar un plebiscito para cambiar la constitución redactada por Pinochet en 1980.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Conocí a Hector a través de la obra audiovisual “\u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Fwww.lapartedeatras.com\u002F\" target=\"_blank\">La Parte de Atrás de la Arpillera,\u003C\u002Fa>” un trabajo documental realizado en colaboración con las artistas Amaranta Espinoza y Lula Almeyda. En esta pieza buscábamos mostrar el trasfondo social de las arpilleras y de los bordados de resistencia en Chile. Como uno de los fundadores del  \u003Cem>Taller de Arpilleras de los Presos Políticos \u003C\u002Fem>de la Cárcel Pública de Antofagasta, Maturana entiende la importancia del arte y de los archivos culturales como contenedores de la memoria de los pueblos y capacidad de resistir la historia oficial de nuestros gobiernos. Es por esto que decidimos publicar esta entrevista ya que creemos que \u003Cem>la dictadura no fue un paréntesis\u003C\u002Fem>\u003Cspan id='easy-footnote-5-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-602' content='\u003Cem>Un Fantasma Recorre Chile: Prisión Politica de la Dictadura Civico-Militar en el Escenario de una Democracia que Criminaliza la Protesta Social. La Dictadura No es un Parentesis\u003C\u002Fem>.  Agrupacion por la Memoria Histórica Providencia Antofagasta' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> y hoy en Chile siguen habiendo presxs politicxs. Esta entrevista combina conversaciones que sostuvimos antes del rodaje, material de la entrevista conducida por Diego Lazo y documentos compartidos por el entrevistado.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Cómo te involucras en los movimientos de resistencia?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> En 1973 yo recién estaba terminando el liceo, y recuerdo que el mismo día 11 de Septiembre, nos juntamos muchos estudiantes a reflexionar sobre el momento que estábamos viviendo. Aquí echamos bases para ir viendo de qué manera podríamos aportar a evitar lo que nos imaginamos se venía después del golpe de Estado. Seguimos participando sin medir consecuencias, porque la verdad éramos muy jóvenes. Empezamos a desarrollar un movimiento precoz de ayuda solidaria. Íbamos a la iglesia a buscar maneras de colaborar, ya que habían alrededor de 2000 personas detenidas dentro de la ciudad (Antofagasta), y eso era sin contar Chacabuco. En el año 1975 teníamos un grupo bien organizado de gente que estaba apoyando y desarrollando resistencia en una ciudad con aparatos de represión fuertemente instalados. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Me puedes contar un poco sobre el contexto de Chacabuco?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> A partir del golpe militar de 1973 — donde se produce una represión masiva en Chile — una parte importante de los presos que estaban en Santiago , Valparaíso y otras localidades son trasladados al norte, donde se habilita la oficina salitrera de Chacabuco como lugar de concentración. El lugar es inhóspito y desértico. Mucho calor durante el día y frío por las noches. Los presos comienzan a llegar a través de buques de la armada o en avión, se piensa que hubo más de 1000 personas. Se desarrolló bastante apoyo hacia los familiares, gente que llegaba desde otros lugares de Chile a visitarlos, y todo esto generaba mucha solidaridad en torno al momento que estaban viviendo estas personas.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Por qué elegiste la arpillera como herramienta de expresión y resistencia? ¿Me puedes hablar un poco más sobre la materialidad de la arpillera?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> Mi motivación por las arpilleras comienza aproximadamente en el año 1975, luego de encontrar un trabajo de un preso político del campo de concentración de Chacabuco exhibido en una oficina. La arpillera desde sus primeros impulsores en la década de los ‘60 — con Violeta Parra principalmente — ya tenían una connotación política importante, pero a mi esto me llega simplemente como relato histórico. Después de ver el trabajo que estaban haciendo los presos en Chacabuco en pedazos de cartón porque seguramente no tenían otro material, fue que quise traspasarlo a la arpillera. Como material la arpillera tiene distintos usos, es el mismo material que se usaba para almacenar papas, es un material de combate, muy resistente y que era accesible a la gente más empobrecida — estamos hablando de la época de los sesenta — esa sensibilidad después se mantiene en el tiempo.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Cuándo y por qué caes detenido? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> Bueno yo caigo detenido en el año 1980, con mi hermano Freddy, con mi papá y otras personas que luchaban en Antofagasta. Esto ocurre nueve días después de que se votó la nueva Constitución. Fui acusado de infringir la ley de seguridad interior del estado, de incitar al derrocamiento del gobierno y asociarme ilícitamente a esa actividad. Era una acusación muy generalizada en aquellos años. Me significó dos años de cárcel, cumpliendo una condena injusta obviamente. Pero que estaba normalizada en esa época. Todo aquel que alzaba la voz era catalogado como extremista, terrorista o subversivo.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Cómo era tu proceso y espacio de creación en la cárcel?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> Estando en la cárcel nosotros teníamos una rutina, la cual partía en la mañana haciendo actividades físicas, luego después del almuerzo nos sentábamos a trabajar. Por largas horas ese era nuestro punto de encuentro. No todos los presos políticos trabajaban en la arpillera, pero los que estábamos ahí nos permitía intercambiar ideas y propuestas. Buscábamos mucha poesía, porque gran parte de lo que nosotros hacíamos estaba ligado a textos poéticos de aquellos años. Había una retroalimentación importante en el uso de textos para poder desarrollar una temática que pudiese tener llegada hacia la comunidad. Estando nosotros detenidos se hicieron exposiciones dentro de la ciudad de Antofagasta, las cuales daban cuenta de este trabajo. Entonces se fue generando una red de apoyo simple y básica, pero viéndolo de otra manera ahora, eran focos de resistencia que se producían en la ciudad a partir del trabajo que nosotros hacíamos.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM: \u003C\u002Fstrong>¿Cuál es la relación entre las arpillera y Providencia? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">HM: La relación histórica entre el edificio de La Providencia y la arpillera tiene que ver con que nosotros estuvimos detenidos en el cuartel secreto de este inmueble, cuando era un cuartel clandestino en 1980. Con el paso de los años debido a la denuncia pública es declarado monumento histórico, pero hoy se disputa este espacio para ser transformado en un sitio de memoria. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Qué es para ti un sitio de memoria?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM: \u003C\u002Fstrong>Un sitio de memoria tiene que ver con recrear de algún modo los acontecimientos del pasado, los hechos que se documentaron respecto al quehacer del periodo de la dictadura, es ahí donde las arpilleras vuelven a tener un sitial. 13 trabajos que están en Antofagasta esperan el momento propicio para ser instalados en ese espacio. Esto va a tener un significado importante dada la interrelación se entre los hechos del pasado con el presente. No se trata de dramatizar, ni victimizar la situación, por el contrario se trata de abrir las posibilidades y conversaciones al respecto de lo que son las vulneraciones de los derechos humanos. Un sitio de memoria puede existir solamente si tiene elementos como la arpillera, las cuales recrean momentos históricos, los complementa y es una aliada a la memoria. Así también lo son los documentos, registros fotográficos y grabaciones, pero lo interesante de la  arpillera, es que coloca la prisión política en otro contexto, el cual antes no era pensado de esta manera. Cuando nosotros hacíamos arpilleras en los años 80, no estábamos pensando en que este producto finalmente iba a terminar en un sitio de memoria, nosotros no teníamos esa perspectiva, pero ahora gracias a este proceso memorístico se van a generar todas estas posibilidades. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> ¿Cómo viviste la revuelta del 2019? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HM:\u003C\u002Fstrong> Yo fui detenido nueve días después de la instauración de esta constitución entonces me produce mucho diálogo todo el momento cuando se produce este estallido social, ya que se estaba interpelando — entre otras cosas—la constitución que ha tenido un proceso largo de permanencia. Me dio mucho sentido volver a salir a las calles a volver a colocar este tema, ya no tan solo, y en un momento en el que estábamos muy apagados con mucha represión encima, esto se transformó en un alegato masivo de mucha gente con la misma perspectiva. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Hasta antes del estallido nosotros estábamos tratando de construir un país pudiera superar un trauma histórico. Pero bueno este estallido vuelva a colocar al estado en muy mal pie, vemos que no es un ente que funcione de acuerdo a los sentimientos de la población o de la ciudadanía, sino que funciona en relación a intereses económicos, a mantener un estado corporativo, y a ligarse con las fuerzas armadas para mantener el orden público. Para este estallido social el estado vuelve a cometer los mismos errores que nosotros estábamos denunciando antes. No se han sanado las heridas de antes y se abren nuevas.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SM:\u003C\u002Fstrong> Para las protestas habían carteles que decían “el neoliberalismo nace y muere en Chile.” ¿Crees que lo podemos lograr? \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cbr>\u003Cstrong>HM:\u003C\u002Fstrong> Si puedo terminar con esa frase del catálogo de la exhibición en la cual conmemoramos los 41 años de la “caravana de la muerte”\u003Cspan id='easy-footnote-6-602'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-602' content=' \u003Cem>La Caravana de la Muerte\u003C\u002Fem> es una comitiva del Ejército de Chile que por orden del general Augusto Pinochet, tenía la misión de «agilizar y revisar\u003Cem>»\u003C\u002Fem> los procesos de personas detenidas tras el golpe militar. La operación terminó con el asesinato y desaparición forzada de 97 presos políticos.' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> que dice: “El pueblo que no conoce su historia no comprende su presente y, por lo tanto, no lo domina, por lo que son otros que lo hacen por él.” \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Esta frase de algún modo refleja lo que nos han ido imponiendo. La intencionalidad que viene del estado, de los cuerpos represivos, que desde el primer día del golpe militar empezaron a construir una historia y trataron de esparcirla por todo el país haciendo que esa historia fuera de dominio público. Generaron una construcción histórica a su manera de acuerdo a sus intereses y el pueblo a su vez quedó sin voz, sin manera de expresarse y sin la capacidad de poder contar su propia historia. La memoria del pueblo siempre está en disputa con la historia. Por eso, este mismo trabajo apunta a esto a contar la historia de otra manera y producir un cambio cultural. Si es que esto llega a EEUU o Canadá, a una sala de clases y se produce un diálogo, eso es fenomenal. O lo que hiciste tú (Soledad) cuando colocas a los\u003Ca href=\"https:\u002F\u002Fsoledadmunoz.com\u002F\" target=\"_blank\" rel=\"noreferrer noopener\"> desaparecidos en Chicago\u003C\u002Fa>, porque a la vez tú también tienes ese conflicto, de estar en los lugares que generaron las políticas económicas de nuestro país. Pero vas con otro instrumento, una herramienta que se confronta y eso hace mucho años atrás no pasaba. Quizás lleguemos en un momento determinado a terminar con el neoliberalismo en Chile, producto de todas estas acciones, con las arpilleras, y con todo esto. \u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan> \u003Cem>La Agrupacion Providencia de Antofagasta\u003C\u002Fem> (The Providencia Group of Antofagasta) is an organization invested in the protection of the Providencia building in the second region of Chile. This building was used by Pinochet’s agents as a detention center and although the site has been recognized by Council of National Monuments, it continues to be occupied by the police force of the city.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-602\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Un Fantasma Recorre Chile: Prisión Politica de la Dictadura Civico-Militar en el Escenario de una Democracia que Criminaliza la Protesta Social. La Dictadura No es un Parentesis\u003C\u002Fem>. Agrupacion por la Memoria Histórica Providencia Antofagasta\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-602\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>The Death Caravan \u003C\u002Fem>(Caravana de la Muerte) was a Chilean Army death squad that ordered or personally executed at least 97 people during Pinochet’s dictatorship.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-602\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>La Agrupación Providencia de Antofagasta\u003C\u002Fem>: organizacion que apela por la memoria historica del inmueble La Providencia, que fue usado en una primera etapa por agentes de la Dirección de Inteligencia Nacional(DINA), después por la Central Nacional de Informaciones (CNI) como un lugar de detención y tortura de opositores a la dictadura. En el año 2016 el recinto fue declarado Monumento Histórico.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-602\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Un Fantasma Recorre Chile: Prisión Politica de la Dictadura Civico-Militar en el Escenario de una Democracia que Criminaliza la Protesta Social. La Dictadura No es un Parentesis\u003C\u002Fem>.  Agrupacion por la Memoria Histórica Providencia Antofagasta\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-602\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-602\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan> \u003Cem>La Caravana de la Muerte\u003C\u002Fem> es una comitiva del Ejército de Chile que por orden del general Augusto Pinochet, tenía la misión de «agilizar y revisar\u003Cem>»\u003C\u002Fem> los procesos de personas detenidas tras el golpe militar. La operación terminó con el asesinato y desaparición forzada de 97 presos políticos.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-602\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images:\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>\u003Cspan style=\"font-weight: 300;\">Soledad Muñoz, \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight: 300;\">La Parte de Atrás de la Arpillera\u003C\u002Fspan>\u003C\u002Fi> (2020)\u003Cspan style=\"font-weight: 300;\">, DCP. Courtesy the artist.\u003C\u002Fspan>\u003C\u002Fli>\n\u003Cli>Ibid.\u003C\u002Fli>\n\u003Cli>Soledad Muñoz, \u003Cem>Neoliberalism Was Born and Will Die in Chile\u003C\u002Fem>, digital collage, 2020. Courtesy the artist.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[33],{"id":26,"slug":28,"name":27,"firstName":34,"lastName":35,"bioHtml":36},"Soledad","Muñoz","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Soledad Muñoz\u003C\u002Fstrong> is an interdisciplinary artist and researcher born in Canada and raised in Rancagua, Chile. Currently based in Toronto, her work seeks to explore the ever-changing social spaces we inhabit, and the archival properties of cloth. Through her understanding of the woven structure as the continuation of our social gesture, her practice hopes to recover the voices of those historically silenced, and therefore participate in the fabrication of a more just society. In 2014 she started \u003Cem>Genero\u003C\u002Fem>, an audio project\u002Flabel that focuses on the distribution and greater representation of women and non-binary artists in the sound realm. Subsequently in 2017, she co-founded \u003Cem>CURRENT Feminist Electronic Art Symposium\u003C\u002Fem>, a multidisciplinary, intersectional music and electronic art symposium working with women, non-binary, and BIPOC artists in Vancouver and beyond. Some of Soledad awards include the New Artist Society Full Merit Scholarship at School of the Art Institute of Chicago, and The City of Vancouver Mayor’s Arts Award for Emerging Artist in Craft and Design.\u003C\u002Fp>\n",{"title":38,"robots":39,"og_locale":45,"og_type":46,"og_title":38,"og_description":47,"og_url":48,"og_site_name":49,"article_publisher":50,"article_modified_time":51,"og_image":52,"twitter_card":55,"twitter_site":56,"twitter_misc":57,"schema":59},"Political Prison, Art, and Memory: in conversation with Hector Maturana Bañados - ReIssue",{"index":40,"follow":41,"max-snippet":42,"max-image-preview":43,"max-video-preview":44},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Soledad Muñoz interviews cultural worker and arpillerista Hector Maturana Bañados. Translated from the original Spanish text included after the English version.","https:\u002F\u002Freissue.pub\u002Farticles\u002Fpolitical-prison-art-and-memory-in-conversation-with-hector-maturana-banados\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2021-04-06T19:11:05+00:00",[53],{"width":20,"height":21,"url":18,"type":54},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":58},"21 minutes",{"@context":60,"@graph":61},"https:\u002F\u002Fschema.org",[62,77,79,93,108],{"@type":63,"@id":48,"url":48,"name":38,"isPartOf":64,"primaryImageOfPage":66,"image":68,"thumbnailUrl":18,"datePublished":69,"dateModified":51,"breadcrumb":70,"inLanguage":72,"potentialAction":73},"WebPage",{"@id":65},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":67},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fpolitical-prison-art-and-memory-in-conversation-with-hector-maturana-banados\u002F#primaryimage",{"@id":67},"2021-02-01T19:55:08+00:00",{"@id":71},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fpolitical-prison-art-and-memory-in-conversation-with-hector-maturana-banados\u002F#breadcrumb","en-US",[74],{"@type":75,"target":76},"ReadAction",[48],{"@type":78,"inLanguage":72,"@id":67,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":80,"@id":71,"itemListElement":81},"BreadcrumbList",[82,87,91],{"@type":83,"position":84,"name":85,"item":86},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":83,"position":88,"name":89,"item":90},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":83,"position":92,"name":6},3,{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":96,"potentialAction":98,"inLanguage":72},"WebSite","critical discourse for experimental art practices",{"@id":97},"https:\u002F\u002Freissue.pub\u002F#organization",[99],{"@type":100,"target":101,"query-input":104},"SearchAction",{"@type":102,"urlTemplate":103},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":105,"valueRequired":106,"valueName":107},"PropertyValueSpecification",true,"search_term_string",{"@type":109,"@id":97,"name":49,"url":86,"logo":110,"image":114,"sameAs":115},"Organization",{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":111},[50,116,117],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":119,"slug":120,"title":85,"contentHtml":22,"acf":121,"backgroundBlur":124,"seo":125},48,"home",{"background_image":122,"isBlack":16,"header_text":123},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":126,"robots":127,"og_locale":45,"og_type":46,"og_title":126,"og_url":128,"og_site_name":49,"article_publisher":50,"article_modified_time":129,"twitter_card":55,"twitter_site":56,"schema":130},"Home - 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