DIALOGUES
COCO GONZALEZ: "As an artist B, NO ONE WILL CALL YOU
: You have to call"
BY ALEJANDRA VILLASMIL
Lohse For Jorge Gonzalez, the 2010 was a super good year. As a "manager of questions of art," triggered a series of projects to rescue the Chilean identity so seriously playful. A sort of missionary, Indian mendicant, "Coco" was putting together stories and networks for pure love of art, both in Santiago and Concepción. We talked in his house full of beautiful stuff cachureos and-where We talked about this collective work born of desire. He claims to be a painter class B, but takes Artishocke our first letter.
The 2010 was a busy year. Manage a lot of things ...
was a super good year. Has been one of the strongest years that I remember, both the good and the bad.
Right. We had the earthquake, the rescue of the miners ...
As I said the cover of The Fourth: "No one can say that this year was no Cuatic." The miners, what good came out and the earthquake, what it is because I see every week when I travel to Concepcion. The first año de gobierno de Piñera lo he vivido como que no es verdad, como que es un gobierno de derecha, que toma decisiones de derecha que a veces me asombran, trato de entenderlas, y estoy en eso. No entiendo, por ejemplo, que hayan echado al staff del Consejo de la Cultura y las Artes, y que hayan desarticulado áreas como la de fotografía, que han sido super capitales. Eso me hace pensar en qué es lo productivo y qué no. Y para mi el 2010 fue un año super productivo. Entendí que el arte tiene sus propios códigos que no necesariamente son los del mercado. Uno a veces no quiere hacer cosas gratis, por amor al arte, pero te das cuenta que esas son las cosas que mueven la historia. Es resituar un bien de otra manera.
Yes, all you have managed projects have been moved by a deep love of art. Your motivation is almost
animal ... you catch me reading (Guillermo) Kuitca. He has a painting that is titled I'll rest when I die. I lived the 80's, and when it never had courage, "and I have it now," he was very shy. The 80 had a feature that was that you could be or not be, but participate. There was the pressure of success. I see myself in time, I look at that picture, and I do not see. I am well stateless, or Steppenwolf, even if it seems weird. My friends are three or four, and my family is Andrea and Mila. I see many people, worked in groups, from the collective and the collective, but a more formal situation and intended as a civic status as an emotional situation.
civic Why? Why did the artist must have a social function?
I do not think that art redeems, or do we change society. Hopefully I can make you think things about society. But the civil right is a right that my generation lost during the dictatorship. In my 40 years I struggled to understand. I'm halfway through my life, or a little more, not want to lose the other half seeing what I can do or who I can discover. I still have the same intentions and the same desire and the same ingenuity, but I'm not working so far in the workshop because I'm bored. These questions that will generate the painting in the background is what I am, because what more I am a painter, I was answering the same painting: my formal capacity, by my intellectual abilities, for what you want. I realized I did not want to rehash what he was doing. I also understood it was a good commercial artist, but paradoxically did not sell in Chile and sold out.
Is not there a market in Chile ...
obvious, but in fact, I realized that if it was commercial painter did not matter if it was in my studio painting my works, because in the end I had no money to pay my accounts. When I realized that, I gave this permission, as you say, wild, wanting to do everything I asked. People get confused because it says I'm a manager. Of course, I am a cultural manager, but with management of questions of art, not business questions. Everything I've done in terms of projects has to do with things that I ask myself in the painting: the city, the idiosyncrasies, the membership, the vernacular languages. There is nothing that is not tacking to the workshop exercise, which in this case is an exercise book or table or walking. Every day is a day of art.
emerged tells how each of the projects and what they are ...
What you want done. We must learn to be desired. There is much to be desired with determination, because things are true, even though you're in a restricted environment such as the Chilean. The people see from the outside do not understand how I do things. Look for other explanations, whom I have a partner, who I'm shooting or if I am gay for a fact as simple as "I want to do this." When did everyone Oil Change is upon us. We wanted to make a statement that was not very intellectual, but he had desire. I'm super debtor Oil Change. So the matrix of the Technical Review 40 artists were the Oil Change, plus another 60 taken from a total of 180 workshops I visited.
Is there artists you have expressed resentment at not being included in the Technical Review?
I have no hard leather. I had to prepare for that. I was sure they were one hundred (artists) for marketing. Hundred is a cabalistic number and you have to use it. And in a project that spans from 1980 to 2010, clearly there are people left out, of course there are people who are angry, but that's part of our way of being. Chile still have this conception of the universe flat. Besides, I thought of a book made to be destroyed because it is a workbook and workbooks are for it, for you to go against. Now, it has certain peculiarities, and edited it a person, not an institution. But back to your previous question, over time I learned to close cycles. You have to have enough patience to harvest cycle. Something that happens to all artists is that we are very anxious.
If we want to see immediate results ...
course. With the projects I realized that when we tried to spread, you energy and you had spent. Had to devise a system in which the energy is spent before, although there were no project. So we advise to someone about how to work and broadcast on the Internet. We also created these names (Chewable Industry, Manufacturing Pencopolitanas, Baubles Factory) who are stupid enough for people to remember. And so did Chewable Industry, which includes the editorial, a social laboratory and teaching. Shortly after having it on the net, he saw Pato Muñoz Zárate, digesting and cure Museum Without Walls project (spaces of the Museum of Fine Arts in Santiago and Concepcion malls). So we began to travel to Conce. Industry met the objectives, a project that did not exist, which showed a couple of times a year, which created a network of 5,000 friends in Facebook and contents applied to that network. On the way I also learned how failure was collective. It's super hard to fulfill the expectations of everyone. In industry, for example, we apply the concept of cross-enterprise leadership, which we are not accustomed in Chile. It worked at times. Parallel to that, Fernando Melo, a photographer friend of Concepción, invited me to teach there. So I began to travel, meet people who make performance and the reality of the populations. Oscar Fernández Concha and Leslie welcomed me home and I opened the door to animitas and other projects that develop there. Articles Pencopolitanas born to give the kids a showcase production workshop. Eventually created a platform that has to do with generosity.
What was the most learned from your experience in Conce?
I was surprised how so restricted in half these people were able to build bright systems, systems in Santiago, problems of scale, have been losing brightness. But paradoxically, although Conception is there to be taken, is not taken. Very few, about five or six people, those who take Conception. There is a school of art, there are sick people doing design, but the scene is dominated by music in the visual arts. From Conception to ask you things January.
"Like other projects, Articles Pencopolitanas also closed the cycle?
I ended up teaching in Conce and the boys are owners to do what they want with Manufactures. It is a gift from me to them, and we worked together. This year I do not get Conception.
're like a kind of missionary ...
is an emotional issue. When you begin to live in a place, start everyday, and everyday that affects me deeply. I went to Concepcion in love, good and bad things happened, and now I've fallen in love. It happens to me. For my Technical Review is a project that was, and I do not care what happens to him. Now I am on other things.
A Factory's baubles ...
This project was not born spontaneously, but I raised it when we Stainless, had been in the air. For these things in life, I had to take a management course at the (University) Uniacc for design career, I call emotional management, because even though management had hard, lifting of resources and Gantt charts, I infected the boys and took them to the territory of doing. This I had to do for five years. In the third year, I am bringing this project to merchandising. They joined several people and there arose Baubles, which is related to cultural consumption, a term rare-and tourism the object, which refers to the vernacular, territory and belonging. In the line of merchandising what we do is basically go through the neighborhoods of Santiago, digitize and produce products or buy products from there so that people know these neighborhoods. The merchandising is to me a creative piece undervalued in Chile.
How are projects funded?
With Stainless stayed super debt. Industry But we set a budget and we work. Also raised money for the same project to create a petty cash and pay for things like travel expenses. When I left the U, he knew he had no nets, was timid, was ugly, Jan had things in my head and I hurt my feelings. He knew that although he wanted to go for art, would be very complicated. So I created systems to survive within the art. Thus arose the collective work. Now, seeing all that we do, people can say that Coco is a good painter but he is losing, but I rather think I've rediscovered.
"You're losing because you're not painting?
course, because the race is to make your painting. Now, not if, when then repaint fried again. Probably yes. At the end of the eye is not so virgin and it's hard to think of a new visuality. I think if you put me anywhere in any city, I'll keep doing the same. I have a course I'm an artist that does not matter much. I am an artist B, and I have no subterfuge to say it, even though internally I would love to shine, I would love to pass things rock star or TV. But I keep thinking about that thing "maybe yes." If he comes, comes. As an artist B, no one will call you: you have to call you. Do it yourself, do yourself; fabricate yourself. I know that what I paint, the system I have, I will call a great exhibition. It is very rare. I was very surprised that Garcia Sole Chilensis invite me. It notes that there has been living in Chile for very long, because he has the tricks of the affiliations of power.
Could it be that one, as an artist, you have to manufacture yourself, just so the clubcitos?
Yes, but I feel super outsider. Like I said, I'm a few friends, despite my work group. A hard for me to relate on that level January with the world of art. I relate to the level of friendship, affection, to learn, but I do not relate to level of power, because I to myself am half bad stretch things. So when I found myself in this instance, that I liked the power, I chose to be different. And that too is something to come and go, not leave much time for people to know you.
you opted for anonymity ...
Yes, very low profile, though I have a big nose ... jajaja
People always wondered who he was Industry, who is behind
Articles ... Yeah, but I know what bag projects. Do not think that there is an exercise in ingenuity. Maybe a little delirious emotional growth, but not naive. Are ways to make contacts in my way. I have always seen the Indian mendicant, who climbs the mountain and western but goes around her, and placed three stone steps, and spends his life on that. I long breath.
What is this year?
Technical Review As a result, I have been reunited with all these heroes of the eighties era, with which we are organizing two beautiful projects that I have super excited. One is exposed to Waldo Gómez, Julia San Martin and Lucho Valdivieso, not sure if Gasco or Catholic, and another is a project called The Road overnight, with Jofre Araya and Mauro. That's for 2013. There will be paintings, video collaborations, graffiti, literature, theater and performance record of 80, and a bar, that we will address ourselves from 17 to 19 hours. On the other hand is the life project. Andrea wants further study and would probably go out of Chile a good number of years.
COCO GONZALEZ: "As an artist B, NO ONE WILL CALL YOU
: You have to call"
BY ALEJANDRA VILLASMIL
Lohse For Jorge Gonzalez, the 2010 was a super good year. As a "manager of questions of art," triggered a series of projects to rescue the Chilean identity so seriously playful. A sort of missionary, Indian mendicant, "Coco" was putting together stories and networks for pure love of art, both in Santiago and Concepción. We talked in his house full of beautiful stuff cachureos and-where We talked about this collective work born of desire. He claims to be a painter class B, but takes Artishocke our first letter.
The 2010 was a busy year. Manage a lot of things ...
was a super good year. Has been one of the strongest years that I remember, both the good and the bad.
Right. We had the earthquake, the rescue of the miners ...
As I said the cover of The Fourth: "No one can say that this year was no Cuatic." The miners, what good came out and the earthquake, what it is because I see every week when I travel to Concepcion. The first año de gobierno de Piñera lo he vivido como que no es verdad, como que es un gobierno de derecha, que toma decisiones de derecha que a veces me asombran, trato de entenderlas, y estoy en eso. No entiendo, por ejemplo, que hayan echado al staff del Consejo de la Cultura y las Artes, y que hayan desarticulado áreas como la de fotografía, que han sido super capitales. Eso me hace pensar en qué es lo productivo y qué no. Y para mi el 2010 fue un año super productivo. Entendí que el arte tiene sus propios códigos que no necesariamente son los del mercado. Uno a veces no quiere hacer cosas gratis, por amor al arte, pero te das cuenta que esas son las cosas que mueven la historia. Es resituar un bien de otra manera.
Yes, all you have managed projects have been moved by a deep love of art. Your motivation is almost
animal ... you catch me reading (Guillermo) Kuitca. He has a painting that is titled I'll rest when I die. I lived the 80's, and when it never had courage, "and I have it now," he was very shy. The 80 had a feature that was that you could be or not be, but participate. There was the pressure of success. I see myself in time, I look at that picture, and I do not see. I am well stateless, or Steppenwolf, even if it seems weird. My friends are three or four, and my family is Andrea and Mila. I see many people, worked in groups, from the collective and the collective, but a more formal situation and intended as a civic status as an emotional situation.
civic Why? Why did the artist must have a social function?
I do not think that art redeems, or do we change society. Hopefully I can make you think things about society. But the civil right is a right that my generation lost during the dictatorship. In my 40 years I struggled to understand. I'm halfway through my life, or a little more, not want to lose the other half seeing what I can do or who I can discover. I still have the same intentions and the same desire and the same ingenuity, but I'm not working so far in the workshop because I'm bored. These questions that will generate the painting in the background is what I am, because what more I am a painter, I was answering the same painting: my formal capacity, by my intellectual abilities, for what you want. I realized I did not want to rehash what he was doing. I also understood it was a good commercial artist, but paradoxically did not sell in Chile and sold out.
Is not there a market in Chile ...
obvious, but in fact, I realized that if it was commercial painter did not matter if it was in my studio painting my works, because in the end I had no money to pay my accounts. When I realized that, I gave this permission, as you say, wild, wanting to do everything I asked. People get confused because it says I'm a manager. Of course, I am a cultural manager, but with management of questions of art, not business questions. Everything I've done in terms of projects has to do with things that I ask myself in the painting: the city, the idiosyncrasies, the membership, the vernacular languages. There is nothing that is not tacking to the workshop exercise, which in this case is an exercise book or table or walking. Every day is a day of art.
emerged tells how each of the projects and what they are ...
What you want done. We must learn to be desired. There is much to be desired with determination, because things are true, even though you're in a restricted environment such as the Chilean. The people see from the outside do not understand how I do things. Look for other explanations, whom I have a partner, who I'm shooting or if I am gay for a fact as simple as "I want to do this." When did everyone Oil Change is upon us. We wanted to make a statement that was not very intellectual, but he had desire. I'm super debtor Oil Change. So the matrix of the Technical Review 40 artists were the Oil Change, plus another 60 taken from a total of 180 workshops I visited.
Is there artists you have expressed resentment at not being included in the Technical Review?
I have no hard leather. I had to prepare for that. I was sure they were one hundred (artists) for marketing. Hundred is a cabalistic number and you have to use it. And in a project that spans from 1980 to 2010, clearly there are people left out, of course there are people who are angry, but that's part of our way of being. Chile still have this conception of the universe flat. Besides, I thought of a book made to be destroyed because it is a workbook and workbooks are for it, for you to go against. Now, it has certain peculiarities, and edited it a person, not an institution. But back to your previous question, over time I learned to close cycles. You have to have enough patience to harvest cycle. Something that happens to all artists is that we are very anxious.
If we want to see immediate results ...
course. With the projects I realized that when we tried to spread, you energy and you had spent. Had to devise a system in which the energy is spent before, although there were no project. So we advise to someone about how to work and broadcast on the Internet. We also created these names (Chewable Industry, Manufacturing Pencopolitanas, Baubles Factory) who are stupid enough for people to remember. And so did Chewable Industry, which includes the editorial, a social laboratory and teaching. Shortly after having it on the net, he saw Pato Muñoz Zárate, digesting and cure Museum Without Walls project (spaces of the Museum of Fine Arts in Santiago and Concepcion malls). So we began to travel to Conce. Industry met the objectives, a project that did not exist, which showed a couple of times a year, which created a network of 5,000 friends in Facebook and contents applied to that network. On the way I also learned how failure was collective. It's super hard to fulfill the expectations of everyone. In industry, for example, we apply the concept of cross-enterprise leadership, which we are not accustomed in Chile. It worked at times. Parallel to that, Fernando Melo, a photographer friend of Concepción, invited me to teach there. So I began to travel, meet people who make performance and the reality of the populations. Oscar Fernández Concha and Leslie welcomed me home and I opened the door to animitas and other projects that develop there. Articles Pencopolitanas born to give the kids a showcase production workshop. Eventually created a platform that has to do with generosity.
What was the most learned from your experience in Conce?
I was surprised how so restricted in half these people were able to build bright systems, systems in Santiago, problems of scale, have been losing brightness. But paradoxically, although Conception is there to be taken, is not taken. Very few, about five or six people, those who take Conception. There is a school of art, there are sick people doing design, but the scene is dominated by music in the visual arts. From Conception to ask you things January.
"Like other projects, Articles Pencopolitanas also closed the cycle?
I ended up teaching in Conce and the boys are owners to do what they want with Manufactures. It is a gift from me to them, and we worked together. This year I do not get Conception.
're like a kind of missionary ...
is an emotional issue. When you begin to live in a place, start everyday, and everyday that affects me deeply. I went to Concepcion in love, good and bad things happened, and now I've fallen in love. It happens to me. For my Technical Review is a project that was, and I do not care what happens to him. Now I am on other things.
A Factory's baubles ...
This project was not born spontaneously, but I raised it when we Stainless, had been in the air. For these things in life, I had to take a management course at the (University) Uniacc for design career, I call emotional management, because even though management had hard, lifting of resources and Gantt charts, I infected the boys and took them to the territory of doing. This I had to do for five years. In the third year, I am bringing this project to merchandising. They joined several people and there arose Baubles, which is related to cultural consumption, a term rare-and tourism the object, which refers to the vernacular, territory and belonging. In the line of merchandising what we do is basically go through the neighborhoods of Santiago, digitize and produce products or buy products from there so that people know these neighborhoods. The merchandising is to me a creative piece undervalued in Chile.
How are projects funded?
With Stainless stayed super debt. Industry But we set a budget and we work. Also raised money for the same project to create a petty cash and pay for things like travel expenses. When I left the U, he knew he had no nets, was timid, was ugly, Jan had things in my head and I hurt my feelings. He knew that although he wanted to go for art, would be very complicated. So I created systems to survive within the art. Thus arose the collective work. Now, seeing all that we do, people can say that Coco is a good painter but he is losing, but I rather think I've rediscovered.
"You're losing because you're not painting?
course, because the race is to make your painting. Now, not if, when then repaint fried again. Probably yes. At the end of the eye is not so virgin and it's hard to think of a new visuality. I think if you put me anywhere in any city, I'll keep doing the same. I have a course I'm an artist that does not matter much. I am an artist B, and I have no subterfuge to say it, even though internally I would love to shine, I would love to pass things rock star or TV. But I keep thinking about that thing "maybe yes." If he comes, comes. As an artist B, no one will call you: you have to call you. Do it yourself, do yourself; fabricate yourself. I know that what I paint, the system I have, I will call a great exhibition. It is very rare. I was very surprised that Garcia Sole Chilensis invite me. It notes that there has been living in Chile for very long, because he has the tricks of the affiliations of power.
Could it be that one, as an artist, you have to manufacture yourself, just so the clubcitos?
Yes, but I feel super outsider. Like I said, I'm a few friends, despite my work group. A hard for me to relate on that level January with the world of art. I relate to the level of friendship, affection, to learn, but I do not relate to level of power, because I to myself am half bad stretch things. So when I found myself in this instance, that I liked the power, I chose to be different. And that too is something to come and go, not leave much time for people to know you.
you opted for anonymity ...
Yes, very low profile, though I have a big nose ... jajaja
People always wondered who he was Industry, who is behind
Articles ... Yeah, but I know what bag projects. Do not think that there is an exercise in ingenuity. Maybe a little delirious emotional growth, but not naive. Are ways to make contacts in my way. I have always seen the Indian mendicant, who climbs the mountain and western but goes around her, and placed three stone steps, and spends his life on that. I long breath.
What is this year?
Technical Review As a result, I have been reunited with all these heroes of the eighties era, with which we are organizing two beautiful projects that I have super excited. One is exposed to Waldo Gómez, Julia San Martin and Lucho Valdivieso, not sure if Gasco or Catholic, and another is a project called The Road overnight, with Jofre Araya and Mauro. That's for 2013. There will be paintings, video collaborations, graffiti, literature, theater and performance record of 80, and a bar, that we will address ourselves from 17 to 19 hours. On the other hand is the life project. Andrea wants further study and would probably go out of Chile a good number of years.
http://www.artishock.cl/
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