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In 1998 I decided to show my entire photographic archive; the one that was build with all of the photos I had taken to make my works between 1992 and 1996. This way, for example, for the production of the Para hacer en casa (To do at home) series (1992) I made forty two self-portraits in which I was posing in different places of my house, finally selecting eighteen for my first solo show at the Northamerican Chilean Institute of Culture; or, in the case of Pequeños Viajes (Small trips) (1994) I took forty six photographies, from which I selected five to produce the work that would travel to Holland, to my first show abroad.

In addition to this two projects, in 203 photographs I exhibited the archives of Untitled (fracture) (1992), Matto Grosso (1994), To live as we dream (1995), Human Resources: Lovable, Magnetic Field (scars), (both made in 1996) and Human Resources: Abysses (1997).

I had decided to show everything, not only the technically correct and, for that, I installed 203 photographs on the walls of the old Posada del Corregidor’s second floor, a relevant national contemporary art space for several years. Deployed as territories’ maps of different colors and textures, I understood this first retrospective exercise as a leap of faith —accompanied by the natural vertigo it implies—, an emptiness exercise meant to make room for new projects, new ideas and, above all, for new challenges.

exhibited in

Attempt at an Inventory

06 December - 13 May 2018

Retrospective exhibition at Museo Nacional de Bellas Artes, MNBA.


  1. © 2019 monica bengoa

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