This iteration of the Museu Impossível de Coisas Vivas unravels as an intricate objective narrative about a recent Chilean-Peruvian maritime dispute, which resulted in almost 300m of unclaimed land. The installation gathers and intervenes on images and objects (by means of graphic elements and assemblages) as a way of evoking the current status of the territorial, political and cultural situation.

The project bears the name of the current journalism denomination of this territorial and maritime case. The photo prints, combined with the objects, evoke alternative chapters, side effects and other aspects specific to that episode. Together with each element of the installation there are ‘museum labels’ with factual-fictional details about the elements presented. Some historical events involving the case, dating back to the War of the Pacific (in the 19th century), are also accounted for in an attempt to reconstruct a hypothetical archeology around the real situation.

Alluding to the implicit invisibility of two artifacts related to the case, the construction of hypothetical objects (as artifacts) – made from local and popular materials found non-everyday It can also refer indirectly to moments of sociocultural and political visibility linked to the long-term dispute. Serving as an exhibition structure for docu-fictional ‘artefacts’, the general installation works conceptually at various times and situations on this disputed area, as it also touches on some of its invisible points of contact.

Exhibited in:

ParC Solo Projects, Lima, 2014
19th Video Brazil – Sesc Pompeia, São Paulo, 2015

Acquired for the MAC Parana Collection, Curitiba