Artista independiente y video-maker. En varios de sus proyectos busca metodologías colaborativas que problematicen la noción de autor, la construcción de imaginarios sociales y la cultura popular. Ha trabajado con diversas agrupaciones (grafiteros, presxs, inmigrantes) en la elaboración de proyectos, así como con colectivos de comunicación popular o alternativa, principalmente en Chile.
Lucía Egaña Rojas has worked as an independent artist and freelance activist. Most of her work is based on collaborative productions that question the construction of social imaginary in popular culture. She has developed many of her projects working with diverse collectives mainly of independent media* as well as with marginal collectives such as prisoners, graffity artists, marginal groups of women and immigrants.
Since 2003 my work is articulated at the meeting point between diverse social spheres, places which are not the conventional ones for the production and distribution of art. My project do not propose the creation of an object to be looked at or admired. Their purpose is to generate open social processes for the flow of ideas, solutions and responses which an individual person could not imagine by themselves.
Even though the result could be exhibited in galleries or museums, I tend to look for spaces that are located on the margin of the official art-world, working with people who are considered to be outside of it. For this purpose I use the following areas of action:
- Urban areas and their residues: streets, obsolete technologies, elements from popular culture.
- Autonomous spaces: cultural/social centers, festivals, activist gatherings. Places where social concerns are valued more than artistic ones.
- Low-cost media: zines, streaming, blogs, flyers, stickers, subvertising, the Internet as a virtual “room of her own”, as a public/private space for intimacy.
So the process is a central part in my projects and the medias diverse: video, installation, handcrafts, sound, residual disruption, in brief collaborative and social art.
Some keys directions of my work are:
1. Open Source: From a political, philosophical and conceptual perspective, I work with artesanal technology using mechanics, electronics, sewing and drawing. Rather than focusing on computer coding, I am interested in opening the cultural production code to its process and unveil possibilities for the user to change any stage of it. Examples: Minipimer.tv, The machine of the possible impossible, Nothing Original.
2. Post-Identity Practice: It focuses on de-constructing socio-cultural categories such as gender, nationality, identity, social class and folklore. This practice creates an environment where we can think critically and question the stereotypes that determine our socio-cultural behaviors. By working collectively in a playful manner, the intention is to engage people through their own biography. Examples: Embossed, Vestizaje, Mi sexualidad es una creación artística.
3. Collaborative Process: Working with different communities and individuals, I seek to develop new strategies and methodologies for collective… The production process is very important in order to exchange ideas and skills. Examples: Han vivido más en transición que en dictadura, Dinero, Culturalbot.