2 juni –
23 juni

Juan Castillo

Nätter i Sveriges trädgårdar

JUAN CASTILLO (Antofagasta, Chile, 1952) är bildkonstnär och växte upp i nitratbyn Pedro de Valdivia i norra Chile – ett faktum som präglade hans liv och arbete. Han har studerat arkitektur vid Universidad Católica de Valparaíso samt graverad konst hos Eduardo Vilches vid School of Art vid Pontificia Universidad Católica de Chile. Castillo var grundare och del av Collective of Actions of Art C.A.D.A (1978-1983) tillsammans med Lotty Rosenfeld, Diamela Eltit, Raúl Zurita och Fernando Balcells. 1982 reste han till Europa och 1986 bosatte han sig i Sverige, landet där han idag är bosatt.

Juan Castillos verk har presenterats på Moderna Museet och Kulturhuset i Stockholm; Te Tuhi Center for the Arts, Manukau City, Nya Zeeland; Museum of Modern Art i New York (MoMA); i museet i Bern, Schweiz; på National Museum of Fine Arts i Santiago de Chile; på Wifredo Lam Art Center, Havanna; i Bolivias nationalmuseum; på Reina Sofia Art Center, Madrid; bland andra.

Vital Signs
Francisca García

”Before borders and customs, permanent movement. Before individual isolation, gatherings and conversations. The work of the Chilean artist Juan Castillo always consists in a journey towards “realness”, the everyday experience, “earth-dweller” dialogues, social interactions and affections. In his more than four decades of artistic work, he has willed the composition of an imagined world against the grain, absent or always yet to come, that counters the dominating images of globalization and its cultural stereotypes, extractivist hoarding, consumption logic and digital onanism. We know that he conceives his art project as an “open work” and a constantly ongoing investigation, which is why his production isn’t defined by isolated aesthetic objects, but rather, by the practices and rituals that he mobilizes and which have real effects on the community. There’s a certain utopianism regarding these “ends of times” that surge from such openings. I propose thinking of Castillo’s open work as an “emergency archive”, a notion that picks up on the term’s double meaning: on one hand, it documents the emergency of the biological and political extinction of bodies, both human and non-human, in relation to territories; and on the other hand, it sucitates or provides more solidary, pluralistic, and equitable models of life and worlds that displace what is human.”