Sanchez-Velasco, A, Rodriguez-Casellas, M, Valiente Oriol, J & Valiente, G 2019, 'Australian national pavilion at the xxii milan triennial, 2019', ARQ, vol. 2019, no. 103, pp. 40-49.View/Download from: Publisher's site
© 2019, Pontificia Universidad Catolica de Chile. All rights reserved. As an ecosystemic effect of climate change, the largest living being on the planet – the great Coral Reef in Australia – started to lose its color in 2016. This episode serves as a lens to look not only at the way in which the heritage of humanity is affected by global warming but also at how governments deny this using false environmental protection strategies in parallel to the continuous promotion of fossil fuels.
Sanchez-Velasco, A, Valiente Oriol, J, Rodriguez-Casellas, M & Valiente, G 2019, 'Teatro della terra alienata, Australian national pavilion at the XXII Milan Triennial, 2019', ARQ, no. 103, pp. 40-49.
As an ecosystemic effect of climate change, the largest living being on the planet – the Great Barrier Reef in Australia– started to lose its color in 2016. This episode serves as a lens to look not only at the way in which the heritage of humanity is affected by global warming but also at how governments deny this using false environmental protection strategies in parallel to the continuous promotion of fossil fuels.
Valiente, G, Sanchez-Velasco, A, Rodriguez-Casellas, M & Valiente Oriol, J 2017, 'Post-liberal Valparaíso: 272 political postcards', ARQ, vol. 97, no. Value, pp. 112-119.View/Download from: Publisher's site
Within the framework of the XX Biennial
of Architecture and Urbanism of Chile,
the question about Valparaíso's heritage
could not be postponed. This installation,
designed in Australia, delivers an
unprecedented response: a new social
contract which, based on a land-trust
and a new 'city-brand,' takes advantage
of the bohemian character of the port
to exacerbate otherness and, ultimately,
generate a parallel State.
Valiente Oriol, J, Valiente, G, Sanchez-Velasco, A, Rodriguez-Casellas, M, Hankin, B, Valenzuela, M & Cappetto, L 2018, 'Rebel After the Curfew', ADR 18, University of Sydney, University of Sydney School of Architecture, Design and Planning in association with the Tin Sheds Gallery.
Valiente, G, Sanchez-Velasco, A, Valiente oriol, J & Rodriguez-Casellas, M 2017, 'Valparaiso Post-Liberal', XX Chilean Biennale of Architecture and Urbanism, Metales Pesados, Parque Cultural de Valparaiso.
272 Political postcards printed in Metallic paper. A bureaucrat desk painted in gold and shot by a Chilean Investigations Policeman. 7 sqm of gloden reflective PVC floor and a 150x30 cm sky blue neon sign.
Sanchez-Velasco, A, Valiente Oriol, J, Valiente, G & Rodriguez-Casellas, M, 'Teatro della terra alienata, Australian national pavilion at the XXII Milan Triennial, 2019', XXII TRIENNALE DI MILANO: BROKEN NATURE, Electa.
Teatro Della Terra Alienata responds to the recent mass coral bleaching events that rendered visible the plausible death of the Great Barrier Reef (GBR). The exhibition frames the decay of the GBR as a wicked problem that demands alternative political imaginaries and addresses the urgency raised by recent United Nations IPCC reports.
In 2018, the Australian government decided to partially outsource the preservation of the earth's largest living structure to the Great Barrier Reef Foundation, a charity supported by major mining and insurance companies, banks, and airlines. The current preservation of the GBR is driven by technocratic strategies in which a technological apparatus monitors and manicures the "natural spectacle." The exhibition portrays this technological arsenal as a theatre of distraction that conceals the biggest threats to the GBR's survival: the global dependency on fossil fuels and unbridled growth, and the impacts of a local economy devoted to mining, fracking, and intensive agriculture.
Inspired by the Xenofeminist Manifesto, the Teatro proposes the reappropriation and resignification of preexisting technologies and infrastructures of natural preservation and mineral extraction. It stages a fictional territorial alienation of the GBR and its catchment areas from the domain of extractivist capitalism and imagines its reterritorialization through an economic rationality centered on the notion of joy.