Stasis Artifact
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Abstract
With the figure of the stasis artifact, I would like to study the political design that unfolds during the Unidad Popular in Chile in relation to its objects of projection. In particular, I will focus on the documentary work carried out by Angélica Vázquez in the documentary Crónica del salitre (1971); Marilú Mallet in the documentary Amuhuelai-mi (1972); and Valeria Sarmiento with the documentary Un sueño como de colores (1972). These documentaries record the ways in which the Unidad Popular's politics is organized around socialist production, their gaze is one of militancy and complicity with the transformation process that is taking place. However, at the same time, these documentaries interrupt the very figuration of “labor” by the images themselves. In other words, they interrupt the idea of “production”. This interruption of the image by the image is what could be called a stasis artifact.
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