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Soon to be inaugurated next August, 2005 is a 3 story high (H:
12.4MT x W: 8.0MT) digital mural at the University of Concepción,
Chile, where in an unprecedented manner; the artwork encompasses
the history of Chilean mining from pre-Columbian period (c.
2.200 B.C.) to contemporary times.
The author, visual artist Alexander
Sutulov, based his iconographic study in a thesis of how
early metallurgical activity in the Andean world where the
oldest evidence of work in copper was Mina Perdida near Lima,
Peru during the Initial Period (2.000 – 900 B.C.) had
a direct impact in the development of Chile as one of the
mayor mining countries in the world. Contrary to common knowledge
where gold and silver is usually associated to pre-Columbian
cultures, it was not until a more complex metallurgy developed
with the use of copper and its alloys allowed pre-Colombian
civilization unfold to its full dimension. Paradoxically,
today we are confronted to environmental issues where our
empirical knowledge in copper production is a key aspect in
finding viable solutions in clean technologies with by-products
such as sulphuric acid in order to prevent a complete global
collapse.
In this respect, the History of Chilean Mining Mural is a
reminder of what lies ahead of us, where critical decisions
have to be taken. Generally speaking, our historical relationship
to the richness of a mineral world is of complete mystery
to the majority of human population and yet our global economy
and life quality are intimately related to this phenomenon.
The two sections of the mural regarding historical and mineral
processes, brings forward the archetypes of each historical
period such as the Bronze Age, Spanish Conquest, Colonial
Period, Industrial Revolution, etc. In the case of mineral
processes, the model of reference was “El Teniente”
which is the biggest underground mine in the world today.
With more than 3.000 kilometres of tunnels, the challenge
was to convey the magnitude and complexity of such endeavour.
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The legacy of mining history is one to be considered
and foremost, reconciled in order to be able to confront an
uncertain future of non-renewable natural resources. The work
presented by Alexander who emerges from a digital language,
constitutes a new genre in itself, where the established dialogue
is a propositional one. All previous pictorial medium have
been somehow synthesised onto an “electronic substrate”
where the final result is the sum of simultaneous episodes.
This sort of parallel thinking emphasises our own present
nature, where “reality” is perpetually moving
from tangible to virtual or visa versa. Most important is
the idea of “imagery coexistence” which permeates
throughout the telling of a story.
A sense of enthusiasm is perceived amongst the people who
were directly or indirectly involved with the project, this
notion of belonging is a positive sign at a time where cooperation
is indispensable. The long-term objective is to make this
experience extensive to the rest of the world through a travelling
show and hopefully similar initiatives will be taken in other
countries in terms of recognizing the power of art at the
service of human achievement.
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