【EX-418】NARANJA PUBLICACIONES

Area | EXHIBITION SPACE

Country | CHILE

Naranja Publicaciones is a publishing house, bookstore, and collection focused on Chilean artists' publications based in Santiago, Chile. We are interested in the study of books as an art form, publishing as an artistic practice, and its intersection with other disciplines. Since 2019, we have participated in Printed Matter L.A. and NY, and since 2017 in different exhibition instances in Chile, Brazil, Germany, USA, France, and more recently, China.

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Cartas a Mirtha (Letters to Mirtha) is a project by Sebastián Barrante in which he explores different dimensions of asemic writing. In this way, he creates different families of graphism based on their visual characteristics, which are then inserted into a conventional format, such as the letter, reflecting the concepts of writing, reading, and publication.

The project is a quote from the Argentinian artist Mirtha Dermisache’s works, who used several conventional formats to insert her illegible writings, creating a union between the graphic nature of writing and the graphic nature of conventional formats in publishing.

Cartas a Mirtha is composed of 5 letters, each one with a different family of graphism.

El Cerebro (The Brain) is the first translation into Spanish of “Le Cerveau”, a book by Deisler originally published in France in 1975 by Nouvelles éditions polaires, the poet Julien Blaine’s publishing house. While its publication was postponed due to the coup d’état in Chile, the story in “El Cerebro” fuses the consequences of the artist’s imprisonment by the military dictatorship and his subsequent exile in Europe.

The pages in this book contain assorted visual poems in which the author reflects on “the image of consumption” through particular visions that repeatedly appear over the silhouette of a human head. Later, as national events unfold, the work has a more condemnatory tone for the crimes of the dictatorship and manifests a defeated spirit due to the end of the project of Unidad Popular. Nevertheless, despite the wound inflicted on a generation, the work closes with a message of hope for the future.

[El cielo está, por encima del techo / tan azul, tan calmo.] [The sky above the roof / Is so blue, so calm!.] is the second part of the trilogy that began with “The poetic reverie, on the contrary…”, in which the image of the house is explored from a quotation found in a book by the philosopher Gaston Bachelard.

If, in the first part, the search for the house was produced by the visual conformation of its façade – obtained from photographic archives due to the impossibility of obtaining this image due to the quarantine – in this second part, the skies seen from inside the house are the only photographs that make up this book.

As a tribute to On Kawara’s million years, this publication acts as a hand-stamped calendar of those monotonous days of confinement, whose only variable element was, in many cases, looking out of the window and noticing the clouds, their changing shapes, their colors.

Tercera Estrofa (Third Verse) is a work by Carlos Soto Román, and it is the third part of a trilogy following “11” and “Chile Project [Re-Classified]”. In this book, published by Naranja Publicaciones, the poet uses different operations in response to the third verse of Chile’s national anthem, the recitation of which was imposed upon the public during Augusto Pinochet’s dictatorship (1973-1990).

SECRETO (Secret) is an artist’s book by María P. Vila that arises from the homonymous installation created in 2018.

This project has traveled to 18 countries worldwide and has collected 2,108 secrets, in more than 22 different languages. This book contains a selection of 32 secrets.

SECRETO started when María Luisa’s father dies, receiving all his belongings. Among these was a series of letters that her father had written to a psychiatrist in Chile during his exile in Peru. In the letters, she found a secret that her father kept until the day of her death. In the attempt to understand the reasons that motivated her father to hide this secret, María Luisa decides to open the question collectively through this work. That was how she exposed her father’s secret inside an airmail envelope (which were the envelopes in which her father’s letters arrived during the exile), inviting the audience that if they wanted to read that secret, they should leave their own. As a result, untold secrets will find themselves suddenly revealed.

The SECRETO book contains a selection of 32 secrets that must be revealed by the reader -as a ritual act- by tearing each page. This edition of 300 copies contains a foreword by Natalia Matzner and is printed in silkscreen, inkjet, and risograph.

音声ガイド | Audio guide

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